Tag Archives: Karnivool

Sinister Sevens: Sonisphere 2014

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Okay, let me start off by making one thing clear: Sonisphere 2014 was just EPIC. For four days, Knebworth was host to wall-to-wall awesomeness, and I suppose that it’s now my job to try and boil that down into a short(ish) summary of all the rad stuff that happened, and the major outcomes of the festival. In that spirit, then, here’s a quick run-down of the seven bands I enjoyed the most over the course of Sonisphere 2014, along with the recounting of a few memories. Let’s crack on, shall we?

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1. Metallica [By Request]

Without a doubt, Metallica were the band of Sonisphere 2014. They may have shared headlining duties with the mighty Iron Maiden (and The Prodigy), but you could just tell that Metallica were going to be the band hitting the top gear. This was pretty clear once we entered the arena on Sunday morning to find that Metallica had completely torn down most of the main stage and replaced it with their own setup (and still hadn’t finished it, meaning that Gojira came on late). From the entire backdrop of video wall, the ‘D’ walkway out into the crowd, and the beach ball-deployment mechanisms (see later), Metallica meant business.

And what business it was. With a setlist constructed by the fans, Metallica By Request was always going to be some kind of monster and from the opening twangs of ‘Battery’, the show was unstoppable through ‘Master of Puppets’, ‘Welcome Home (Sanitarium)’ and onward toward more choice cuts from Kill ’em AllRide the Lightning…And Justice for All and Metallica [the Black Album]. Despite the popularity of Death Magnetic, the only songs extracted from beyond 1991 were ‘Whiskey in the Jar’ (which went down a storm) and the steamrollering ‘Fuel’, which led to one of the biggest sing-alongs of the night. Even “the new song” ‘Lords of Summer’ went down a treat, along with the standard classics like ‘One’, ‘Creeping Death’ and ‘Enter Sandman.

The master-stroke, though, comes in the final moments: out of nowhere, hundreds of black “Metallica by Request” beach balls fall from the heavens of the stage into the front of the crowd; ricocheting around the arena during the closing songs with gay abandon and a sense of universal glee shared by both band and audience. And heck, when { Metallica } are having this much fun, you know you’re in for a real treat.

p.s. SIT DOWN, LARS

KillEmAll

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2. Ghost (B.C.)

I’ll be honest: before Soni 2014, I’d only really heard of Ghost (B.C.) in passing. I’d only ever really encountered them visually, and so had (not unjustly) assumed that they were a standard Scandinavian black metal band after having seen their outlandish stage garb and semi-religious iconography. Oh, how wrong I was.

Earlier in the weekend, a friend described Ghost as “black metal channeled through surf rock,” and yet that doesn’t really reflect what Ghost is and are: they’re simultaneously the heaviest and not-heaviest band; a bizarre mix of style that you wouldn’t think would work on paper, and yet triumphs spectacularly. The band themselves are anonymous; five bemasked Nameless Ghouls providing the backing noise over which Ghost’s frontman vigilantly presides. Papa Emeritus (II), naturally, is the band’s lifeblood and conduit with the audience, yet he’s so unconventional a frontman that it’s almost refreshing how much an antidote the band are to the traditional ‘rock star’ image and caricature.

Throughout the set, Emeritus paced the stage with a gentle, faux-papal demeanour, gesticulating to the crowd like a preacher addressing his congregation. If the band’s fascinating music-scape is anything to go by, ‘congregation’ is an appropriate term to reflect the awe in which the Sonisphere masses drank in Ghost’s performance, undoubtedly winning over a large swathe of new followers; me included. Certainly, their foray through a handful of album tracks along with a cover of ‘If You Have Ghost(s)’, they most definitely affirmed their place as [my] “Discovery of Sonisphere 2014,” and guaranteed a place for their entire back catalogue in my ever-expanding music collection. (F)rock on.

IfYouHaveGhost

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3. Karnivool

I admit it, I ❤ Karnivool so hard. They’re a monumentally good live band, and one that seems to constantly be on tour in some form or other (this is the fifth time I’ve seen them in less than five years). Hitting the Saturn stage in the middle of Sunday, even I must concede that I was worried that the Vool’s meandering, progressive rock/alt-metal would wither in the daylight and without their ambient, atmospheric lighting and stage presence. I needn’t have worried, though, since the music – as ever – is perfectly capable of transporting you to a hypnotic, dreamlike world of robust prog-metal, regardless of the time of day.

Karnivool’s forty minutes on stage were woven from their typical headline set; drawing from 2009’s Sound Awake and last year’s Asymmetry albums. There are no surprises in the order, nor ad-hoc song changes; just the regular Karnivool machine delivering the tight, sonic experience that they’re expertly-programmed to output. Whilst fellow Aussie band Airbourne were vomiting forth faux-rock’n’roll and pre-planned ‘spontaneous’ acts of rebellion, Karnivool graced the Saturn Stage with maturity, charm and precision. Sound is the factor which holds it together.

Karnivool

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4. Babymetal

Of course, a lot of the pre-Sonisphere hype circulated about the inaugral UK (and European festival) appearance of “internet sensations” (yuk) Babymetal, and how they’d go down in front of a stoic heavy metal crowd that would, later in the day, be gearing up for real metal delivered by Anthrax, Iron Maiden and Slayer. The three girls from Japan were accompanied to the stage by projection of a tongue-in-cheek ‘back story’ video, heralding their status as the new Goddesses of Heavy Metal, before launching into album openers ‘BABYMETAL DEATH’, ‘Megitsune’ and ‘Gimme Chocolate!!’.

Of course, while Babymetal will forever be associated with The Girls, they’d be nothing without the juddering metal backdrop. The backing band provide the foundation for Babymetal’s cosmic stage presence; painting the musical stage on which The Girls sing, dance and cavort around with choreographed abandon. Inter-song solos and noodles from each of the members also goes light-years to proving that they’re not just a dance/pop band; they’re an (albeit constructed) machine of genuine musical talent and merit under the curtain of semi-contrived gimmick.

It’s a shame that, at least for the day, Babymetal could only grace the Apollo Stage for a fleeting half an hour, but it’s certainly enough to satiate the ravenous and (maybe) convince a few of the naysayers to rethink their stern opinions. Either way, for thirty minutes on a gloomy Saturday in Hertfordshire, we were witnesses to the arrival of the new Goddesses of heavy metal; and how refreshing that was. The revolution is here; the time is now.

BabymetalDeath

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5. Hundred Reasons

The assembled crowed at the Saturn Stage on Saturday afternoon felt small, but perfectly formed. After a few years of splitting-up, re-forming, playing comeback and anniversary shows, Hundred Reasons haven’t released new material for seven or so years. Sonisphere 2014 saw them going back in time twelve years, with a full rendition of their essential debut album, Ideas Above our Station; addressing a small but rabid fanbase who can sing along with every word.

Throughout their set, 100R looked for all the world like a band enjoying themselves. With each member now otherwise invested in other projects, the Sonisphere semi-reunion (they got together back in 2012 to do a few proper renunion shows to celebrate the Ideas… ten-year anniversary) had all the feeling of a weekend get-together rather than a run-of-the-mill show. Dutifully, Colin Doran’s lyrics soared over the backing provided by Hibbitt, Gilmour et al. and the voices of the assembled congregation, delivering an atmosphere worthy of a band in their heyday rather than one that’s been off the circuit for far longer than most of us would like.

If nothing else, Hundred Reasons reminded us why 2002’s post-hardcore soundtrack meant so much to so many, and convinced us (if we ever needed convincing in the first place) that the UK music scene is a poorer place without Hundred Reasons in it. Boys, you’re sorely missed.

ShatterproofIsNotAChallenge

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6. Max Raptor

…And the award for “Craziest Moshpit of Sonisphere 2014” goes to Max Raptor!

I’m not sure what I expected when I walked into the Satellite Stage tent to settle in for Max Raptor. What became clear was that, within seconds of launching raucously into their opening song, most of the central area of the tent was taken up by a frenzied [mosh/circle] pit that continuously ebbed and flowed with the motion of bouncing limbs and beaming smiles until well after Max Raptor had left the stage.

Not elsewhere across the weekend did I witness such a constant whirlwind of bodies, fervour and fun as during Max Raptor’s short (but sweet) set – the boistrous (but cordial) moshing throughout the show was accompanied by a jovial wall-of-death and, at one point, the sight of two guys dressed as 1970s long-distance runners sat on each others’ shoulders and jousting across the pit.

I wasn’t familiar with any of Max Raptor’s material before I saw them; even now, I’m almost tempted to keep it that way. Because, you see, to hear them on CD and in the manacles of a recording studio would ruin the memory of witnessing a true punk rock band being completely let off the musical leash for a festival show. They’re a band to see in the flesh, not just on record. Their debut album (Mothers Ruin, fact fans) might be the best ever written, but I’ll never know because I’ll never listen to it; nothing can compare to the real Max Raptor experience, smiles abound.

MaxRaptor

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7. Nirvana Defiled

I’m not sure what I was expecting to hear from Nirvana Defiled; a regular, main stage hardcore(ish) band [The Defiled] playing an 11pm show in a titchy tent as a Nirvana tribute band. I think, in the main, I was just hoping that they wouldn’t screw it up – having watched The Defiled play their regular set on Friday and not been bowled over, a friend and I headed into the Bohemia Stage on a high and settled in to watch the potential car crash of the same band attempting to raid the Nirvana back catalogue. Instead, what we got was one of the most enjoyable musical experience in recent memory, and hats well and truly eaten.

Nirvana Defiled took to the stage in complete costume – ragged cardigans, plaid shirts, pink hair, bras and baseball caps; even with the other (redundant) member of the four-piece The Defiled dolled up in drag as Courtney Love being pushed around in wheelchair – before belting into a perfect rendition of ‘Breed’. For the remainder of the show, The Defiled crushed through the likes of ‘In Bloom’, ‘Negative Creep’, ‘Rape Me’ and ‘Heart-Shaped Box’, before sending the entire tent into a mass frenzy with an intense rendition of the obligatory ‘Smells Like Teen Spirit’ before exiting the stage and leaving genuine smashed guitar all over it.

It may now be twenty years since Kurt left this world, but for forty or so minutes in Knebworth, late on a Sunday night, Nirvana were alive and well and full of the kind of reckless energy that took them from mere rock band directly to musical legend. And, without a shadow of doubt, it was glorious.

SmellsLikeTheDefiled

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So there we go; my brief (if a little late) review of most of the awesomeness from Sonisphere 2014. Honorable mentions should also go to all of the other bands I managed to watch over the course of the weekend: Hounds, Atari Teenage Riot, 65 Days of Static, Anti-Flag, Limp Bizkit, The Prodigy, Fort Hope, Centiment, The Virginmarys, Alestorm, Deftones, Devin Townsend Project, Reel Big Fish, Alice in Chains, Kerbdog and The One Hundred. Special mentions should also go to the ‘extra-curricular’ activities over the weekend, from the Official Unofficial Sonisphere Bin Joust International Invitational to the Toolbox Hill-Descent Masters. For four or so days, my life was filled with music and other tomfoolery, and it was spectacular.

Thanks, Sonisphere; you were awesome. Same time next year, yeah?

[Zinar7]

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My Life in Music IV: Set Fire to the Hive

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Continuing on from where we left off yesterday (link), here’s the fourth and final part of my quest to examine and document my favourite full-length records from each year that I have been alive. This post covers 2006 to the present, demonstrating an even greater diversity in my listenings and revealing trends for the future and (perhaps) what I’ll be listening for the next seven years. Next week, I’ll round up those albums that couldn’t quite make the cut, but still deserve to be on the list.

Doing this series has been a pleasure and a joy; allowing me to re-review a lot of my favourite albums, and to provide opportunity to put my stamp on what defines me, at least musically. There’ve been no huge, gargantuan, revelations along the way, but the process has re-affirmed some of my most dearest records and given some of the other a new ‘ear’ and re-discover them after a long time.

This isn’t the last post, though, as I’ll be providing a quick run-down in the next post about some of the albums that didn’t make the cut; usually because they were in a competitive year and I could only choose one. In the meantime, I hope you’ve enjoyed this little amble down musical memory lane and without further ado, here’s the rest of it:

2012: Rush – Clockwork Angels

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Since the release of Rush’s 2007 cracker Snakes and Arrows, the enduring Canadian prog-rockers have ridden a wave of resurgence which is (arguably) the highest they’ve seen since their 1970s/80s heyday. It’s with fine reason though, since their consistently superb live shows have been supported by albums that show some serious form – Clockwork Angels pulls together some of Rush’s finest songwriting, conceptual imagery and lyrics since 1981’s Moving Pictures. ‘Caravan’ opens proceedings with a barrage of distorted guitars and by the time that second track ‘BU2B’ kicks in, it’s clear that Clockwork Angels is possibly Rush’s heaviest album to date; at least sonically. Evoking ideas of time travel, alchemy and anarchy, Neil Peart’s top-score lyrics deliver a compelling story through the likes of ‘The Anarchist’ and the stonking ‘Headlong Flight’; both of which must surely become setlist regulars from now on. Overall, it’s a barnstorming lesson in modern progressive rock, drawing inspiration from the band’s forty-year career and with that proviso, remains utterly, utterly essential.

Song Choice: [Caravan]

2011: Rhapsody of Fire – From Chaos to Eternity

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In an ideal world, From Chaos to Eternity would win the 2011 award based on its superb cover art alone, but we’re here to judge the music, not the cover art (though that gives me an idea for a future blog series…) and on that basis, there’s plenty to love here. Where the previous year saw Rhapsody release a returning masterpiece that recalled some of their best work, From Chaos to Eternity raises the bar yet further for orchestral power metal; injecting even more heavy metal riffs into the Rhapsody cauldron and cooking up an even darker tone, albeit with no compromise on epic symphony. The titular song that opens proceedings is infectious and tempestuous, whilst the likes of ‘Tempesta di Fuoco’, ‘Ghosts of Forgotten Worlds’, ‘Aeons of Raging Darkness’ and ‘I Belong to the Stars’ are heavenly slices of symphonic power-metal, capturing some of their best material since, well, ever. This would, unfortunately, be the final album that the power trio of Alex Staropoli, Luca Turilli and Fabio Lione would make together; instead deciding to amicably split into two Rhapsody-canon bands: Rhapsody of Fire (Staropoli, Lione) and Luca Turilli’s Rhapsody (Turilli). If it means that we now get twice as much Rhapsody as before and if it’s anything like their output in the last few years, I’m all for it.

Song Choice: [From Chaos to Eternity]

2010: Rhapsody of Fire – The Frozen Tears of Angels

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I felt slightly guilty putting two Rhapsody albums for consecutive years, but when the prolific Italians insist on releasing two stellar 60-minute albums and a killer 35-minute EP in the space of fourteen months, what’s a guy to do? After a brief hiatus following 2007’s lukewarm Triumph or Agony, Rhapsody took time off to adjust their view; the time off allowing them space to derive more lore, lyrics and lilts and for the continuing ‘Dark Secret’ saga (which was last touched on in 2004’s Symphony of Enchanted Lands II and which took my award for that year). The result is a powerstorm of ideas, themes and expressions spouting from the orchestral nerve centre that is the combined Alex Staropoli/Luca Turilli hive-mind:  ‘Sea of Fate’ is classic Rhapsody, full of vim, vigor and galloping, exploratory guitar/key solos; ‘Raging Starfire’ lives up to its monicker, delivering a clash of symphonic, charging riffs and orchestral tones; whilst the eponymous final track is some of the darkest Rhapsody that exists in the canon, but equally some of the most essential; rounding off a blinding return to form.

Song Choice: [Sea of Fate]

2009: Karnivool – Sound Awake

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I was first exposed to the Australian five-piece when they played support to Skindred on their 2009 autumn tour; I was instantly blown away. Even as a mere support act they oozed class, but they’re also a band capable of delivering a live show that’s so tight and note-perfect (even when delivering their multi-layered, progressive rock/metal), and with a quality and professionalism rarely seen in a band so ahead of their years. Their debut record, Themata expresses their hallmark sound with a raw, undeveloped energy, but it’s on their sophomore, Sound Awake that you hear a band in total harmony, and delivering a noise-scape of dream-like quality that’s been delicately crafted and refined. The result is staggering, monumental slab of unpigeonholable sound, and an album that instantly latches onto your synapses and merely gets better and better. You may not have heard of them, but I highly, highly recommend you seek out Karnivool while they’re still (relatively) undiscovered by the masses.

Song Choice: [Simple Boy]

2008: Less Than Jake – GNV FLA

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Twenty years into their punk career, the fact that LTJ can still produce bodies of work of GNV FLA‘s quality is testament to the band’s monumental talent and presence in the ska-punk scene. The follow-up to 2007’s disappointing In with the Out Crowd feels like the work of a band reinvigorated, finding their direction once again – the ska is back, the horns are turned way up, and the likes of ‘Does the Lion City Still Roar?’ absolutely commits to everything that makes LTJ one of the very finest live and touring bands in the genre. Perhaps the inspiration for this return to form lies in their hometown of Gainesville, Florida (providing the title of the record), resulting in a re-discovery of ideas, values and sounds. Whatever the cure, the solution is a sight (and sound) for all to see, and an accomplishment equal to the stunning Hello Rockview exactly a decade previous.

Song Choice: [Does the Lion City Still Roar?]

2007: Turisas – The Varangian Way

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After inventing a whole genre with their stonking 2004 debut Battle Metal, their sophomore record represents Turisas’ first fully-conceptual album, telling the story of Scandinavian (Varangian, in Greek and Slavish) warrior longship expedition to join the Byzantine Varangian Guard. The story begins in Holmgard (Novgorod, in modern-day Russia) near the Baltic Sea in ‘Holmgard and Beyond’, passing through Kiev and down the Dniepr river in ‘The Dnieper Rapids’, before arriving in Constantinople in ‘Miklagard Overture’. The battlers’ fable is told with the usual Turisas power and ferocity; boiling down the tale into 8 folk-/power-metal songs infused with Viking spirit and atmosphere. Their folk-metal cover of Boney M’s ‘Rasputin’ (included here as a bonus track) may be their most famous output, but Turisas are most formidable when given free rein to create stories of their own.

Song Choice: [To Holmgard and Beyond]

2006: Scar Symmetry – Pitch Black Progress

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Of all the music-years that I’ve compiled in this list, I think 2006 was the most difficult purely because I couldn’t think of anything that really fit the bill. Sure, there were some great releases (Foo Fighters’ Skin and Bones, Iron Maiden’s AMOLADKillswitch Engage’s When Daylight Dies, Tool’s 10,000 Days), but nothing quite hit me square in the heart; the effect being that 2006 was the last year I committed to, and written at the very last minute. Pitch Black Progress is a strange choice, then, but not quite one chosen in the heat-of-the-moment. It’s a defiant release by the least well-known band on my list; a splatterhouse of metalcore, melodic death metal and prog-metal; melted down to their constituent parts and revealing gold in a warped form of mechanicalchemy. It’s a chaos of gutteral-/melodic-vocals, crushing guitars and ferocious percussion, but there’s order in the disorder and it’s an undeniably accessible body of work, revealing new facets with time. A kaleidoscope of Scandinavian metal, then, but assuredly a stout fit for this compliation.

Song Choice: [The Illusionist]

[Zinar7]

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