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| MUSIC Gig Reviews, Club & Gig Listings And USA Discoveries! Scroll down to read through all articles or select one of the links below to jump to another section |
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| Index | Unsigned Stage | News | Chinwags | Arts | Features | Album Reviews | Club Focus |
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Band: Zodiac’N’Black
I had a funny feeling tonight was going to be one of those nights that was going to be long but thoroughly enjoyable. A few minor complications were over come and me and my photographer Jo got the venue and plonked ourselves down with a drink. The venue was…Small shall we say! It used to be a nightclub of sorts but now it seems, is trying to become more of a live venue. It is sort of like a very clean and new New Cross Inn! That said the first act of the evening took to the stage.
Leonardo DC
A very composed acoustic set from a gifted songwriter. It was short and sweet but filled with lyrical prowess. His guitar playing was quite mesmerising, he has a keen early for melody and moving it around on the guitar, making a simple four chord song sound like a masterpiece! He started off to a small crowd, but by the end, he had our attention and it’s a shame there were not more people here. But keep an eye out for this man at other clubs and bars, I’m sure he’ll be playing and entertaining bigger crowds soon! 4/5
Tank Trap
I hope I have the name right, it was said over feedback! These guys started off really well, the opening song reminded me of RATM but with more of a southern kick to it, which I enjoyed. When the second song kicked off with a harmonica intro they proved their worth as a great southern blues group with a heavy dissonant edge. The singer, Jad, has great presence along with a guitarist who is quite virtuosic, providing a harder metal edge to their sound. Sadly, to my dismay their attraction wore off towards the end, it just became a bit run of the mill, a spark had gone out, I just didn’t feel there was anything new in it. But, there is no denying that they are a good band with some very powerful songs.
3.5/5
Dead Mans Crossing
This was a bit more of my cup of tea, even though I was drinking Guinness! This was more heavy rock with a Progressive feel to it; dare I say a bit Led Zeppy?! Rolling bass lines and driving riffs, they also had one with a staccato feel to it; it went great with the vox! The drumming was superb, especially on the song 2.0. Also, single Tears of a Deadman, released six months ago, was a really good driving rock song, bordering Crue and Nickelback vibe, but in a good way without the cheesy vox. Their singer has a great voice and is backed up well by bassist… who has a great traditional rock bass sound; full, rounded and warm. The guitars are great, especially the cleans with the transition to distortion sounding seamless, which at this level can make all the difference to propel yourself to the next stage. They also have a metallic edge which is awesome; the solo work proves this and is skilfully woven. After an amp malfunction they got back on track with another lead driven ballad to close the set with. A very well written song, with great vocal melodies. A top band in my opinion, someone mentioned A Perfect Circle-Esque, which I would not deny, it had its moments. They play a great descending riff while they do the band introduction that became a very good lead out, one of the best I’ve heard in a while!
4/5
Zodiac’N’Black
From a quiet opening to full on rock! One of the stand-out factors of these guys is originality; it oozes from them, especially the front man Jad. He has a great voice and isn’t too bad when it comes to dishing out some guitar work. I think it was on A Necessary Evil with the Amplifier esque laid back groove that really kicked a good note with me, but Bad Pills was a big winner for me, some of the best bass lines I’ve heard in a while, weaving and pulsating. Jad’s presence is awesome, total front man perfection without the ego. And may I say he has a Morrison swagger about him. In fact it does have some moments where you may think it’s a bit like the Doors, but it’s cranked up by about ten tonight! I’m a bit of an ethereal/stoner fan and A Necessary Evil did it for me in that sense, it was awesome. The crowd are right into these guys as well, it’s plenty packed and everyone’s getting down and doing their own thing to this desert rhythm while watching these guys play and amazing set. "Lights on Blues" is an absolute foot stomper! How these guys are unsigned is tragic, they deserve bigger stages and deserve to be heard. I think we’re all very lucky to have witnessed tonight, I have a funny feeling that they won’t be playing stages of this size for too long. I think that if this is where hard rock is going, the futures looking bright with these guys part of the wave. With Bastinado from the EP closing the set and being able to meet and greet the guys, who were very hospitable, they leave the stage to rapturous applause. These guys are in line for the big time.
5/5
Review by Danny Draper Photos by Altercarnated Photography
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My Dying Bride @ O2 Islington Academy – 18th May 2011
Seeing as this was their first show in years here in London for ‘My Dying Bride’ it was so surprise seeing a long line-up of Metallers and Goths queuing up, before the doors were even open. Once inside it wasn’t long until the lights went down and first and only support band tonight came on stage.
Ava Inferi certainly know how to make an entrance to the stage. A Gothic Doom Metal band from Portugal, fronted by Carmen Susana Simões who certainly knows how to belt out a tune!
Apprearing from the shadows holding a candle lantern, covered in full black cloth covering her face, Carmen made her dark, dramatic gothic entrance onstage. This band have a great stage presence and it feels more like a stage production than just a gig. The rest of the members are great & the music is fantastic.
I really wanted to like this band, the audience really seemed to, but for me the vocals just weren’t on form tonight. I loved their dark gothic image and music and the members were great for posing for photos but the high tones that were being hit tonight could surely break glass, or at least my brain & I knew I wasn’t able to stand for it for their whole set.
Aside from that, the whole band played & performed brilliantly. There is no doubt his band have talent & I really enjoyed the music side, just think the vocals needed to be tweaked down slightly?! They have recently released their fourth album ‘Onyx’ which I will most definitely check out.
After quite a long break, and afew visits to the bar it was time for My Dying Bride. The venue was totally packed tonight and I was surprised seeing upstairs closed, even to photographers! There is no doubt after their years of experience these guys know how to put on a good show and despite seeing them the last time they were in London I always get a lil chill when I see Aaron Stainthorpe. He’s such a great vocalist and has such an immense stage presence, again making it feel like you are watching a theatrical show rather than just a gig. It’s hard to believe this UK band have been going since 1990 and have made a great impact on gothic doom metal since. I have been a fan of this band for a very long time so I was privileged to be shooting them tonight! It was great hearing them play their old, much loved songs tonight too. They are clearly loved too, as the audience didn’t stop screaming and most were singing along to the songs.
It is no doubt My Dying Bride are a band you need to see live! They are well known for their heavy riffs and haunting lyrics and I especially loved the keyboards and live violin that was being played tonight, including the brand new song ‘You Are Not The One Who Loves Me’, from the band’s 20-year anniversary collection Evinta, which was released at the end of May 2011. All the members looked and played perfectly, infact this is definitely the best I’ve ever seen them play to date.
Throughout their set their energy was amazing, performing all their greatest songs, it really was like listening to their greatest hits album!
Just as the band were about to finish and leave the stage Aaron Stainthorpe stopped and jokily said ‘Yeh we could go off stage and wait for you to all scream for more, the we come back and do our encore, but we are just too old for that now…so here is the encore, but feel free to scream for more anyway!’ Which the crowd were happy to do!
The encore seemed as long as their set, not that I was complaining, I could’ve easily watched them for longer, again with ‘Aaron’ stating ‘This has to be the longest we’ve ever played!’ You could really feel the amazing atmosphere and connection with the band members and the audience tonight, it was amazing to watch.
This is one band who shouldn’t have been missed tonight, a fantastic way to break up the week and it’s great to know after all these years this band are still on top-form and know how to put on a fantastic performance, an absolutely brilliant night!
Review & Photos: Jo Blackened Altercarnated Photography |
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Band: The Defiled
Support: Daken, Romeo Must Die
Venue: Camden, Barfly
Date: 11th May 2011
Oh my word. I’ve never been to the Barfly before and I think any who have been before would agree that saying it’s a 'cosy' place would be the correct assumption. Although I must recommend to the venue that they must improve their air conditioning or ventilation systems and people with bags; please be aware of your surroundings, a lot of beer is spilt because of you!
But, enough on the surroundings and the irritable hikers and their bags, I had a beer in hand as the first band were ready to approach the stage for this sell-out show!
Daken
An Alternative Rock Metal band from here in London.
They were pretty good; it was a positive performance with very good energy.
 The sound was a bit treacherous at times during the beginning of their set, but they ploughed through showing composure and carrying on unfazed.
This gig, I have been told, marked a step up for Daken in terms of size of venue and crowd, and they had a decent sized crowd for the first band of the night.
 I like the style, but alas, I feel they just need a little bit more oomph in the sound department, in terms of presenting their sound as it needed to hit me more, but apart from that, a decent, assured and good performance.
Hopefully I’ll see these guys again and I’ll eat these words!
3/5
Romeo Must Die
A Metal, Thrash band from UK.
These guys absolutely kicked arse! From the moment the lights went out, a roar went up and you could easily see that Romeo Must Die's popularity is rising.
 The response was as hot as the room, and they launched into their set.
It was like a kick in the teeth and you had to stand up and watch these guys perform, their movement on the stage was enthralling and a lot more energetic compared to the previous band.
They’d only just released their album the week before this show and judging from the pile driving riffs on show tonight, its well worth picking up a copy.
 During the song “Let them Hate” they had a “Spit it Out” style sit down and jump up, which oddly like the band of the aforementioned song, the crowd instantly knew what to do, I think RMD have got a very strong following that will only improve, they slayed the crowd tonight.
These guys are a MUST-SEE Live band!
5/5
The Defiled
Also another UK based band, based in London.
The room is packed and the heat is rising as the Defiled take to the stage.
It's chaos, the baritone riffs pummel all and sundry in the pit.
The crowd are wild and rampant; they own this crowd on their return to their home town.
 The music is pounding but on songs like “Call to Arms” there are great big choruses that get the crowd singing and screaming along! They then went into “Blood Sells” where they begin to annihilate the crowd with more brutalistic riffs and choruses that could shake the foundations of the Great Wall of China!
Maybe a bit over the top, I must admit, but in any case, you cannot knock their knack for achieving a great chorus and great melody.
 The singing is particularly good tonight, all was clear and audible. This goes for all of the bands tonight too. One of my favourite moments was the double bass madness in the song Metropolis along with its amazing breakdown, it thunders through the crowd!
 With the crowd becoming more and crazier they call a halt for a brief moment to pay tribute to former bassist who was in attendance tonight and is noted as a “Diamond Geezer”. They also play 'The Ressurectionists' with Romeo Must Die guitarist Aaron; the crowd take it up a few notches for this great spectacle!
 All in all, the energy created by The Defiled is amazing, I would thoroughly recommend going to see them live, and it’s a show you have to see!
5/5
Review: Danny Draper
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Sepultura @ 02 Islington Academy 30th June 2011
O2 Islington Academy was packed tonight as the Brazilian Heavy Metal band Sepultura had a full house tonight!
The show starts with a furious instrumental intro, setting up the tone for what is to come. The title track of their classic album from 1991 ‘Arise’ is the first song of tonight and what a beginning! Horns and screams are filling up the venue; After all this is the 20th birthday of this album!
Front man Derrick Green; who joined the band is 97, is a massive man with his black dreadlocks flying in the air! He has an incredible presence on the stage, he owns it! Andreas Kisser; on guitar, is shredding like there is no tomorrow, so powerful and sounding like it should be, as Bassist Paulo JR is interacting so much with fans from the front row ,which drives them even crazier! Everyone is definitely enjoying tonight s gig! Drummer Jean Dolabella is pretty fierce on his drums and keeps the whole thing going stronger and stronger as the night goes on.
The very varied setlist is made to group songs from most of their albums, especially Dante XXI, A Lex, Kairos as well as the older hits from the Max era, ’Refuse’ and ‘Territory’. Tonight‘s show finishes on the highest and craziest note possible, with ‘Rattamahata’ and ‘Roots Bloody Roots’. The audience is going wild, headbanging like animals!!!
Yes it will always be a bit weird to see Sepultura perform without the Cavalera brothers but Derrick and his guys do a pretty good damn job and keeping the band alive and keeping the fans happy to hear the new and old tracks. This is a very solid band who has many more years to come! www.mademoisellesphotography.co.uk
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Band: Earthtone9 Support: The Ocean Venue: The Relentless Garage Date: Sunday 22nd May 2011
After interviewing Robin Staps [published in Edition 17] it was time to go and check out his band The Ocean. Robin started The Ocean over ten years ago in 2000 and has seen many members come and go. But he has remained, steering the ship. It seems that The Oceans time is coming, over the past few years their reputation has grown, releasing the mind blowing Pre-Cambrian in 2007 along with plenty of touring, they capped off that album tour cycle with a support slot on Opeth’s tour with Cynic. They then released the double album Heliocentric and Anthropocentric, albums which are astonishing in they way they are written and played. Another support tour with The Dillinger Escape Plan and this tour supporting Earthtone9 and it seems that the future is looking bright for these guys. The Ocean They are magnificent. The come on to a deafening roar as they begin the thunderous riffage or Anthropocentric. They sound brilliant; every time. The guitars are crisp and twist and turn with the intricate groove of their music. The vocals are on top form tonight, even when Loic is jumping around the stage he still manages to have enough breath to spew venom forth with the lyrics. The effortless energy that The Ocean has onstage is amazing how they manage to do it night after night. Coming off an American tour in which they had illness and little or no sleep, they show no signs that this is still on their minds as they play. The towering riffs of latest album and title track Anthropocentric sear through the ears and its enchanting melodies sway you about as much as it pummels! The sound is amazing tonight, which is definitely another thing you can bank on from The Oceans shows is that the sound will be good and they will kick arse! The bass rumbles and pulsates throughout, while drummer Luc Hess bulldozes with some phenomenal patterns and beats that give it real swing and groove as well as great pull and release during the more quieter sections of the bands songs. The twin attack of Robin and Jona on guitars it a sight to behold, Robin has a sometimes Hetfield esque stance and you can see he’s really feeling it. Jona on the other hand is like a jack in the box! When the music gets him, he’s jumping in every which way possible! Its great to see bands that don’t just stand there and communicate however they can to the crowd while they play. Songs like City in the Sea and The Grand Inquisitor are two great tracks, City in the Sea coming from second album Aeolian and the later coming from last years Antropocentric, would be two tracks I would recommend listening to. They have their lighter moments tonight, along with the odd equipment or mic failure but they prevail with aplomb. They are such a magnificent band to watch. They were filming some of the show for an upcoming DVD so keep your eyes peeled for its release and more gigs from the band when they return before the end of the year.
For more info on The Ocean, check out their myspace
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 CLUB LISTINGS CLICK LOGOS BELOW TO VISIT
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I DEFY / REZINWOLF / WE LIE BENEATH @ THE ROSE, HOUNSLOW ALBANY DOWN / HOLLOW DEMISE @ THE TWO RIVERS, STAINES FSI / MEKANIZM / LAST SEEN WEARING @ THE TWO RIVERS, STAINES THE CONFLICT WITHIN / THAMES BURIAL / POWERMAJUS @ THE ROSE, HOUNSLOW KAIDEKKA / DEATH REMAINS / SONS OF TORMENT @ CAMDEN ROCK, CAMDEN LARRY NEIL / THE CONFLICT WITHIN / THAMES BURIAL @ THE TWO RIVERS, STAINES THE CONFLICT WITHIN / PENANCE @ BACKLINE, GUILDFORD
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| CHINWAGS Interviews With Bands, Performers, Artists and Generally interesting People! Scroll down to read through all articles or select one of the links below to jump to another section |
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| Index | Unsigned Stage | Music | Arts | Features | News | Album Reviews | Club Focus |
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RIVAL SONS - Robin Everhart (Bass) Email Interview by Shelia Hamilton
www.rivalsons.com/tour |
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| INDEPENDENT NEWS Anything we hear, that we think you might wanna hear! Scroll down to read through all articles or select one of the links below to jump to another section |
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| Index | Unsigned Stage | Music | Arts | Features | News | Album Reviews | Club Focus |
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Dark Descent Records to Release Cryptborn EP in August Dark Descent Records is pleased to announcing the addition of Finland's CRYPTBORN to its hallowed roster. Entitled Into the Grasp of the Starving Dead, the seven-song, 28-minute EP is targeted for an early August release by Dark Descent shortly after a Detest Records' cassette release at the Hell's Pleasure Festival on July 22-23 (www.hellspleasure.de). Guaranteed to pummel the devoted into a fine powder, the EP proudly continues the legacy of Finland's patented brand of dark, murky, and motoring death metal. The mighty Putrid is responsible for the cover art. You can check out the title track from the EP at this location: Into the Grasp of the Starving Dead Track Listing: 1. A Feast for the Grave (intro) 2. Gift of Rotten Flesh 3. In the Grasp of the Starving Dead 4. A Nebulous Parting 5. Rotten Gates of Heaven 6. Never Perfect When You Die 7. Atonement From Hell
 CRYPTBORN is: ChristButcher - Vocals K.L. - Guitar V.M. - Guitar J.N. - Bass AtomosM - Drums Dark Descent Records on Facebook
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KATAKLYSM: SUMMER TOUR UPDATE AND NEW SONG
"THE IRON WILL: 20 Years Determined" documentary DVD out next year MONTREAL, QC – Canadian death metal act, Kataklysm, is presently wrapping up its highly successful world tour that has brought the band to the four corners of the world. The Heaven’s Venom mania will continue this summer with the band's appearance at the famous Wacken Open Air this August. The band will also perform and headline Brutal Assault festival in Czech Republic, Metal Mean Open Air in Belgium and the very anticipated 20th anniversary show at the Summer Breeze Open Air in Germany to an already sold out 30,000 + fans! In other news, the band recorded the single "The Iron Will" last week in Montreal, Canada with guitarist/producer J-F Dagenais. Tue Madsen will mix the track this fall in Denmark. The song will be released with videoclip and iTunes one month before THE IRON WILL: 20 Years Determined documentary DVD, which will depict the band's long career, through the ups and downs that have made Kataklysm one of today's top bands in extreme music. The DVD will be released in April 2012 and will include the live performance at Summer Breeze. Kataklysm online…
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TRUTH CORRODED SIGN EUROPEAN /
JAPAN DEAL WITH ULTIMHATE RECORDS
Australian thrash metal band TRUTH CORRODED have signed a European/Japan deal with ULTIMHATE RECORDS (www.ultimhate-records.com) for the release of the band’s latest album, Worship The Bled. The label will release the album on September 16th with the band following up the release with a European tour in early 2012. Commenting on the deal, TRUTH CORRODED bass guitarist Greg Shaw states: "The band is extremely pleased to be a part of the label. ULTIMHATE RECORDS have a great and diverse range of bands, and we feel our sound has found the perfect label to represent us in Europe and Japan. Furthermore, like our Australian label (TRUTH INC RECORDS) it is run by musicians who know the industry from going into battle for their own music. After years of hard work to get where we are it is great to be working with a label that has a shared experience and work ethic. The label has been very supportive and plans for touring in support of the album in Europe were put into place immediately. For us this is an aim we have long fought for, and we look foward to taking our music to Europe and building our profile further " Worship The Bled features Kevin Talley (SIX FEET UNDER, MISERY INDEX, DAATH, CHIMAIRA) on drums and was mixed and mastered by Jonas Kjellgren of SCAR SYMMETRY at Black Lounge Studio in Avesta, Sweden. Artwork for the album was designed by Bjoern Gooses of KILLUSTRATIONS (ABORTED, DEW SCENTED) For more information: www.facebook.com/truthcorroded
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Falls Of Rauros Set To Release The Light That Dwells In Rotten Wood Via Bindrune Recordings 
A lengthy hike in the forest has the potential to enchant and terrify. Scenery blends into a comforting and stunning array of landmarks and natural treasures that stir deep emotions and open a direct link to something far more spiritual than ones often mundane routine. The uncertainty and fear of ones surroundings mounts when the realization hits that you have become lost in the wilderness. The landscapes become unrecognizable, cold and threatening. Darkness falls. Alone. The music of Falls of Rauros encompasses such a trek through untamed lands. With a world building atmosphere emitting from the core of their sound, beauty, mysticism and an unsettling edge are all key factors to this bands stunning form of folk influenced black metal. With The Light That Dwells in Rotten Wood, the bands evolution has reached a powerful zenith of creativity and raw passion. It has been a journey... Earth's Old Timid Grace Banish Awaiting The Fire Or Flood That Awakes It Nonesuch River Chant Silence The Cormorants Shine On Their River Rocks Falls of Rauros formed in late 2005 and at the time was composed of Ray and Aaron. The band partially wrote, partially improvised demo songs in a shack in their home town of Portland, Maine between November 2005 and May 2006. This became the self-released Into the Archaic album which was released as an extremely limited run in June 2006, yet successfully launched what would become a musical journey rich in emotive and woodland/folk charged black metal. Shortly thereafter Falls added 2 members, Jordan and Kevin, in order to write music as a unit and begin playing live shows. In early 2007, the Of Stone and the Stars in the Sky demo was completed which was sent to a couple small labels. The Canada based Morbid Winter Records liked it and decided to release a full-length record. The band wrote and rehearsed throughout the remainder of 2007 and recorded their first "official" full-length that winter. Hail Wind and Hewn Oak was released in July of 2008 and was met with critical acclaim. Since then Falls of Rauros underwent some turmoil and parted ways with their drummer. This became a period of low activity, as the band had difficulty finding an appropriate drummer in the Portland area. During this time Austin Lunn of the bands Panopticon and Seidr offered his services as a guest drummer. Falls of Rauros agreed and began to work with him on the new material that would become the stunning, The Light That Dwells in Rotten Wood. Austin recorded the drum tracks himself at his home in Louisville and Falls of Rauros recorded/engineered the rest of the album at their practice space in Portland. This controlled environment ensured the most clear and potent sound, by far the best that Falls of Rauros has yet to achieve. Frustrated by not being able to perform live, Ray has since become the drummer. Jordan moved from bass to guitar and the addition of Evan on bass completed the line-up for future endeavors. The band has participated in several tours, along with a trek into Canada and has plans to tour more extensively towards the end of 2011/beginning of 2012. Falls of Rauros are one of the US scenes most ambitious and creative entities and are fighting to become a name wider known here and abroad. |
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CRASH BANG MANAGEMENT +
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Weds 21st September; Cardiff, Venue TBA
Thu 22nd September; Maidstone, Babylon Live Lounge
Fri 23rd September; London, Relentless Garage
Sat 24th September; Derby, Redemption Club All-Dayer
Sun 25th September; Plymouth, White Rabbit All-Dayer
Mon 26th September; Liverpool, The Masque
Tue 27th September; Newcastle, Legends
Wed 28th September; Edingburgh, Studio 24
Thu 29th September; Belfast, Spring And Airbreak
Fri 30th September; Cork, A Crucian Lan
Sat 1st October; Dublin, The Pint*
(*Onslaught / Fallen Fate only)
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Onslaught - "Sounds Of Violence" out now on AFM Records
A Full Poster Will Follow Soon
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WORLD UNDER BLOOD POSTS LIVE WEB CHAT RE-BROADCAST ON YOUTUBE
LOS ANGELES – On Tuesday, World Under Blood vocalist, Deron Miller, took part in a live web chat from Nuclear Blast’s US headquarters, as he answered fans’ questions about the band’s forthcoming debut record, Tactical. World Under Blood has posted a re-broadcast of the intimate chat on YouTube for those who were unable to tune in earlier this week. Head over to: http://www.youtube.com/watch?v=bct5tG7rCIk to watch the broadcast in its entirety, for exclusive inside information about the band’s origin, future plans, the Tactical recording process and more.
World Under Blood is… World Under Blood online…
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Obsequiae Redefines The Rules With Suspended in the Brume of Eos - Coming Soon Via Bindrune Recordings
Obsequiae's debut full length, Suspended in the Brume of Eos is finally completed! Inventive medieval scales and acoustic guitars embrace a pristine atmosphere that truly sounds like no other band out there in the metal realm. We are all anxious to bring this beast to the masses! Expect passionate songwriting. Sweeping melodies. Crushing vocals. Suspended in the Brume of Eos has a tortured, yet beautiful black soul. Castle metal is born! Altars of Moss Sidhe In the White Fields Suspended in the Brume of Eos Wildes Heer The Wounded Fox Atonement Estas Redit Arrows The Starlit Shore Boreas Cabin Lights OBSEQUIAE has existed, in one form or another, for nearly 14 years. While it's unlikely many have heard of Autumnal Winds, between 1997 - 2004, this young band released several limited-run recordings and demos. Many of these made their way to us at Worm Gear Zine; the predecessor to Bindrune Recordings. These recordings showed potential rarely heard from bands on U.S. soil. Dark and melodic, aggressive and, most importantly, they had their own voice. This was metal that didn't sound like any of the 2nd rate smut peddled around the underground as retro-anything, post-anything, old school anything, etc. This was metal that did two things amazingly well: honored the influence from the greater history/spectrum of metal and also exhibited tasteful influence from 13th century music of Western Europe. Founding member and sole-songwriter, Blondel de Nesle, was, at the time, a student of medieval composition for harp. This influence made its mark on their music in a subtle but effective way - calling to mind the bands from yesteryear who approached metal without confining style or approach to a genre. Namely bands like Ophthalamia or even the criminally-underrated Swedish band Miscreant. Before Autumnal Winds would have the opportunity to record a full-length album, the band had been put to rest as its members went on to pursue other bands and projects. It wasn't until late 2007 when the members began discussing working together. After much deliberation and rehearsal, it was decided the work would continue under the name Obsequiae. This resulted in several live performances and a self-titled cassette in 2009 which was, quite literally, a new recording that covered three Autumnal Winds songs from their scarcely-produced Venerari Sacra Mysteria demo. This recording was shared with Bindrune Recordings before its initial release. As a result, the band was signed to Bindrune Recordings and the cassette itself was co-released by the label. Over the next year, Obsequiae began writing material for their full-length Suspended in the Brume of Eos before finally recording the album in early 2011. This album showcases what Obsequiae has always been gifted at creating: Dark, Melodic Metal. Beautifully harmonious guitars, aggressive and creative drumming, subliminal and haunting bass with vocals that bellow cold, harsh cries. As with any recording created and executed with sincerity, this is an album that bears repeated listens and never seizes to reward its listener.
www.bindrunerecordings.com/distro
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Club AntiChrist - Night of the Vampires
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The Metal Observer Unleashes Another Track From TURBOCHARGED's Debut, AntiXtian After damning us all to hell with their exclusive premier of "Golgotha 33 A.D.," The Metal Observer has once again teamed up with Clawhammer PR and Chaos Records to torch the moral fabric of society with another track from TURBOCHARGED's AntiXtian. This latest track, "Wake Up And Smell The Christian," can be found at this location. The official CD version of the full length debut from Swedish dirty rockers TURBOCHARGED was released on June 10th, 2011 through Chaos Records. AntiXtian features over 40 minutes of the band's unique blend of thrash / groove and punk metal with vehement anti-christian themes. This release will be packaged as a jewel case CD with exclusive artwork and a 16-page booklet. The CD was produced in the band's home studio and mastered at Leon Music Studios by Rikard "Captain Cannibal" Löfgren (VOMITORY, DEATHSTARS, ENFORCER). The album cover and layout for the disc was created by the band's bassist/vocalist, Ronnie Ripper.
Tracklisting: 2. AntiXtian 3. Ghetto of Eden 4. Lionbait 5. Nekronobodies 6. Globalize the blasphemy 7. The paradise they lost 8. Golgotha 33 A.D. 9. Species of Jesus 10. Wake up and smell the Christian 11. Blasphemachine 12. Horns forever raised 13. The new Sodom
Ronnie Ripper - Bass/Lead Vox Bio: Turbocharged was formed back in March of 2000 as a trio during a few drunken binges at the local hangout. The idea took shape in a bar but soon moved to a cellar nearby to complete the www.myspace.com/turbocharged4life www.chaos-records.com
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Italy's folk metal sensation KRAMPUS have brought the metal and flutes to the masses with their debut album Shadows of Our Time. Rising through the ranks, these legitimate folk metallers are taking their home country of Italy by storm and are on their way to world dominion.
In support of their album, the band will be hitting up Europe and stopping to play at METAL MANIA OPEN AIR in Komen, Slovenia with metal acts like DESTRUCTION and ENTOMBED. If you are a fan in any shape or form of folk metal or melodic death metal, these guys are a must hear! www.krampusfolk.com www.facebook.com/krampusfolk www.twitter.com/#!/Krampusfolk www.myspace.com/krampusfolk www.youtube.com/user/KrampusFolk |
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Conan sign to Burning World RecordsCaveman Battle Doom Lords CONAN and European purveyors of fine riffs BURNING WORLD RECORDS- mothership of Roadburn Records and home of musical heavyweights Gnaw Their Tongues, Lustmord and A Storm of Light- have joined forces for the release of CONAN’s first full length album.This leaden slab of doom is due to be recorded towards the end of the year at the renowned Foel Studio, with producer Chris Fielding. The album is scheduled for early 2012. The release will follow on from the success of 2010’s devastating Horseback Battle Hammer (Throne Records / Aurora Borealis Records) and the current release, a grim black hole of tone in the form of a split with Northern Ireland’s Slomatics (Head of Crom Records). CONAN slay all with a compelling mix of devastating drones and warhorse-gallop crust to drive home their brutal intention and wrestle victory from the jaws of chaos. Europe’s heaviest battle-sloths may have found their finest ally in Burning World Records...
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Alberto Martinez (ex-NECROCCULTUS, LEPPER MESSIAH) joins Agony Lords  Mexican dark death metal masters Agony Lords, are currently recording their long-awaited new album A Tomb For The Haunted. The band announced the following update: "Alberto Martinez (ex-NECROCCULTUS, LEPPER MESSIAH) joins Agony Lords. Oscar Lopez, bassist for the band since 1995, has unfortunately left the band due to personal and professional issues." The new lineup is as follows: Jesus Bravo - vocals Mauricio Barami - lead guitar Jorge Inukai - lead guitar Alberto Martinez - bass Oscar Piñon - drums A Tomb For The Haunted is being recorded at Revolution Studios in Irapuato, Guanajuato. Mexico by the band and will be released later this year! The new track "Rising the Occult" is currently streaming at www.myspace.com/agonylords. |
* BLOODSTOCK DAY SPLITS REVEALED - SOPHIE LANCASTER STAGE www.bloodstock.uk.com <http://www.bloodstock.uk.com> BLOODSTOCK OPEN AIR 2011 12th - 14th AUGUST 2011 |
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Queen - Bohemian Rhapsody
My Take on the Meaning of the Lyrics by Will Mortimore
"The New York Times commented that "the song's most distinct feature is the fatalistic lyrics". Mercury refused to explain his composition other than saying it was about relationships; the band is still protective of the song's secret. Brian May supports suggestions that the song contained veiled references to Mercury's personal traumas. He recalls "Freddie was a very complex person: flippant and funny on the surface, but he concealed insecurities and problems in squaring up his life with his childhood. He never explained the lyrics, but I think he put a lot of himself into that song." May, though, says the band had agreed that the core of a lyric was a private issue for the composer." Wiki quote. People still ask me what Bohemian Rhapsody is all about, and I say I don't know. I think it loses its myth and ruins a kind of mystique that people have built up. Rhapsody is one of those songs that has a fantasy feel about it. I think people should just listen to it, think about it, and then decide for themselves what it means." – Mercury quote. I've always found the lyrics of this song a bit of a mystery, as obviously many people have who have speculated on the songs meaning. Earlier on, I went on a site which dealt with "facts" of various tunes, however - after reading many peoples analysis of its content and the meaning, some of which were totally off the mark, I thought I would give it a go based on my knowledge. I've always had an interest in famous musicians, Lennon, Hendrix, Mercury etc. so I tend to remember a lot of things many people might forget or overlook. One of the things I noticed were many saying the tune was about Freddie Mercury having Aids, and him dealing with it - which is ridiculous. Mercury did not have HIV or AIDS in 1975. He was diagnosed as HIV positive in the spring of 1987. Aids hit the New York scene in the early 1980's, where he begun clubbing. AIDS was known as the "Gay plague" at that time by the media, as the vast majority of people dying from it were homosexual. It's extremely doubtful that Mercury, like many others, would have even heard of the disease before it broke out. In hindsight, the lyrics are hauntingly fitting at various times to the way in which he died: "Too late, my time has come/ body's aching all the time/gotta leave you all behind and face the truth/I don't wanna die" which almost runs as a bizarre parallel to the songs original meaning. However, the song was without doubt, certainly not about Aids. I shall explain the lyrics as far as I can see, although, give or take a few details not completely covered in the operatic section, the part described by Roger Taylor as "fairly self-explanatory with just a bit of nonsense in the middle." - You can still get an idea of what it’s about. I think my take on it is a lot better than any other description of its meaning I’ve ever seen, including the version on Wikipdia! Although there’s the possibility I may be wrong with my interpretation, it just might leave you seeing the song in a different light in future. Is this the real life? Is this just fantasy? Caught in a landslide, No escape from reality. These lines, and in-particular the “caught in a landslide” lyric is what he refers to as realising there's no getting away from the fact he is gay, although he later had a relationship with a woman again later on in the year 1984 which would suggest he was actually bisexual) – However, in 1974/5 it would’ve been much harder to deal with than the times we live in now, and furthermore - his religious background – hence “No escape from reality”. Open your eyes, Look up to the skies and see, I'm just a poor boy, I need no sympathy. Feeling helpless over the situation, he wants no-one’s sorrow; possibly including the God he was brought up to believe in. Because I'm easy come, easy go, little high, little low, any way the wind blows doesn't really matter to me, to me... Mercury’s nature was quite dismissive over things – that’s how he coped with life, as a case of having to, and it worked for him. "A very complex person" - and this song deals with various aspects of his character all at the same time. Mama I just killed a man, Put a gun against his head, pulled my trigger, now he's Dead. The man that Mercury is talking about in the line “Put a gun against his head “– is his own head, after his first full on sexual encounter with another guy. The “now he’s dead” lyrics tell how he feels about that – his soul left with no purity, as if he has in fact died. Predominantly, his religious upbringing is leaving him feel these things – which takes us to the next line… Mama, life had just begun, But now I've gone and thrown it all away I think in light of what I previously said, these lines are fairly self-explanatory - he has "thrown it all away" in the eyes of his upbringing/religion. Mama, ooh, Didn't mean to make you cry, If I'm not back again this time tomorrow, Carry on, carry on as if nothing really matters. Of course, he didn’t mean to upset his mother. Although it was believed he might not have told her directly, she would’ve found out at some point eventually. “If I’m not back again this time tomorrow, carry on" - is what he is suggesting she should do if she sees that her son has departed from her, or died, i.e. not the son she once had, not being able to accept how he has turned his back on his religion, and possibly his family over his sexual orientation. Then, he is saying she should “Carry on as if nothing really matters” - by which, for him, there's a sense of helplessness over the situation with these lyrics. Too late, my time has come, Sends shivers down my spine, body's aching all the time There's a couple of ways to look at the line "Too late, my time has come". Firstly, in his conflicted mind, he has possibly sold his soul to the devil, so to speak - or more than likely, that he thinks his parents would see it that way. Secondly, for the showman aspect of his character, to make his mark on the world, After the release of their third album ‘Sheer heart attack’ , Bohemian Rhapsody is being penned, and already, Queen have risen in popularity and are now hitting the big time. Mercury in-particular is on a rollercoaster of a rock star ride - and yet, plagued with guilt, and unable to fully be himself - he is feeling held back. It wasn’t just a gay act of Mercury's which was a fashionable way to be in the early 1970’s as guitarist Brain May first thought in the initial years of the band. As stated by Mary Austin, Mercury’s lover of seven years; once he finally admitted to her he was gay, he became at one with himself again, and was happy. Yet for a fair while before he told her, he was troubled, and according to her - "avoiding issues, which wasn't him." Fortunately, the pair remained very close friends ever after, finally leaving his house, and the main bulk of his millions to her. Forever judged by his religion, his "body's aching all the time" with guilt at the time of writing this tune. Goodbye, everybody, I've got to go, Gotta leave you all behind and face the truth This is about Farok Bulsara (his real name) becoming 'Freddie Mercury' and persona that went with it – including, ironically, the star that was famously known as fiercely private. And yet - there's a sense of; even though that's who he is going to be from here on in, once and for all, he feels on a personal level, a price is going to be paid, or is in fact being paid. There’s another take on the matter of leaving at the end of the tune – when the line “Just gotta get right out of here” is sung, later on - which I'll get to... Mama, ooh, I don't want to die, I sometimes wish I'd never been born at all The line "I sometimes wish I'd never been born at all" suggests that he ("sometimes") feels he can't live up to expectations, and by the mere fact it's said to "Mama", the meaning points towards those expectations of him being a particular kind of son, baring all the other lyrics in mind. This takes us to the next part of the tune; the operatic part, in which the battle is more intense… I see a little silhouetto of a man Scaramouche, Scaramouche, will you do the Fandango Thunderbolt and lightning, very, very frightening me (Galileo.) Galileo. (Galileo.) Galileo, Galileo figaro Magnifico. I'm just a poor boy and nobody loves me He's just a poor boy from a poor family Spare him his life from this monstrosity Easy come, easy go, will you let me go Bismillah! No, we will not let you go (Let him go!) Bismillah! We will not let you go (Let him go!) Bismillah! We will not let you go (Let me go.) Will not let you go (Let me go.) Will not let you go. (Let me go.) Ah No, no, no, no, no, no, no. (Oh mama mia, mama mia.) Mama mia, let me go Beelzebub has a devil put aside for me, for me, for me There has been particularly a lot of speculation as to the meaning of this part. Many of the words appear in the Quran. "Bismillah" is one of these and it literally means "In the name of Allah." The word "Scaramouch" means "A stock character that appears as a boastful coward." "Beelzebub" is one of the many names given to The Devil. Mercury's parents were deeply involved in Zoroastrianism, and these Arabic words do have a meaning in that religion. Mercury claimed the lyrics were nothing more than "Random rhyming nonsense" when asked about it, but it appears once again, he was being a little too dismissive. The operatic section sees him crying out for his mother to let him go - a mother who loves him as any mother loves her son, and yet a mother who worships her faith, which frowns upon homosexuality. It concludes with him admitting defeat, and that the Beelzebub has a devil put aside for him – no-matter which way he turns, which leads to the heavy rock section, building up to yet another conclusion… So you think you can stone me and spit in my eye So you think you can love me and leave me to die Oh, baby, can't do this to me, baby Just gotta get out, just gotta get right outta here This part appears to be outcome of Mercury’s anger, from the battles and confusion of his inner self, and the outer conflicting views also. He has fears of hurting his parents, worries of his mother and father unable to love him when seen in this new light. And even if his parents still loved him as they did before, their religion would disagree with his lifestyle, then becoming a weight upon their shoulders - the weight that had been his. This leaves him feeling terribly responsible, angry and frustrated with himself - then again annoyed at his loved ones. As if it's all too much, he finally wants to escape the whole situation, irately leaving everyone – “Just gotta get out, just gotta get right outta here” with a kind of ‘Fuck all this’ attitude (as almost snarled on the recording). Again, remember the earlier line “Goodbye everybody, I’ve got to go” - the painful path taken by the private Farok Bulsara, not the showman Freddie Mercury - yet somehow, the entire song represents both sides of his character, which merge and become one…. bringing us to the final part of the song… Nothing really matters, anyone can see Nothing really matters Nothing really matters to me Going back to the line just before the confession to his mother that he just killed “a man”, as if he confesses or not – it’s still the same outcome for him, it’s still everything that’s been said…. taking us to the final line… Any way the wind blows... To finish on a good note - his mother, family, and Mary Austin always loved him, as he did them, and they still do - to this day, and are extremely proud of his legacy.
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| Bride of Bloodshed by Jo Blackened
Rebecca Dunn aka 'Bride of Bloodshed' is a solo performer who previously danced as part of a duo called 'The Dolls of Sin' under the name 'Vamp Doll'. She has danced at many events, such as ‘The Graveyard Bash’ I & II in Camden, & Manchester, Redeemer as a Guest Performer for the Shanklin Freakshow, Nocturnal Dance, Graveyard Bash I and Club Antichrist. Her style is theatrical contemporary, whilst bringing an alternative scene twist to adapt to the Horror and Rock community.
Hi there !! Pleasure to be interviewed :)
At what age did you become interested in the performing arts & when did you start performing? I started dancing when I was three years old and Dance and I immediately fell in love!! I attended local classes until I was 16 and from the age of about 4 I had been performing on stage and at local events - even travelling to London's West End to perform on stage. This was for an annual event called Young Performers at Her Majesties Theatre - home to The Phantom of the Opera. I also auditioned for the Royal School of Ballet which was such an awesome inspiring experience. When I finished school I went straight to college to study Performing Arts where my love for ALL things Theatrical grew.
Which are your favourite themes when performing? I lean towards the Horror genre because it really inspires me , the very nature if theatre is to wow and shock and inspire and I feel that these elements are best executed when Horror is involved.
Where do you come up with your ideas & where do you get your inspiration from? Usually a piece of music will conjure ideas and inspiration. I don’t really cite any particular figure as inspiration because no one really does what I do, that isn't a slight on any other performer it's just that because of my choreography and theatrical background I tend to work outside the box a little. I do and can obviously adapt to what is required of me at any given event but my centre is based in horror so as long as it is a rock / metal/ horror event there will always be blood!
You have performed in many various places, where has been your most favourite to date? I think that the Graveyard Bash events have been my favourite; they have a real festival feel to them with the bands and the other performers involved it's a really good atmosphere to work in. There is a comrade-re amongst the bands and performers which makes it really fun to be a part of, and of course not least of all because I met my Fiancé at GYB 2!
Do you have many performances planned this year? So far I have a few events booked up, one of which is a Repo; The Genetic Opera themed night which should be fun!! The others I will keep under wraps for the time being as I shall be announcing them on my Facebook page as the time draws nearer.
What preparations do you have before going on stage; do you ever get stage fright? I don’t do a lot to prepare really, as a lot of my preparation just goes on costume and make up. Once I am ready I will either come out or chat to the crowd / friends or I will sit in a corner somewhere listening to music and chilling out. I get the WORST stage fright ever it's always been the same I am literally a wreck right up to the minute I start to perform!
Do you have any funny stories regarding your performances, has anything ever gone wrong? There have been a couple of incidents; I performed at a club called Taboo, and the number I did involved me coming off stage into the crowd and bloodying up some unsuspecting victims, however the organiser of the event somehow was not aware of this and thought the number had ended so the music and my performance were cut off early!
One other occasion is when I performed at the Fox and Firkin as part of a Nocturnal Dance event, because of the nature of my performance I can't rehearse some aspects and as such it is left to chance as to how well it works. Well for this performance I had got my partner involved to throw buckets of blood over me, what I hadn't realised was that this would make for a VERY slippery dancing surface! When he came on stage for the final part of the show we were fighting to stay on our feet and the last move I had to spin into his arms - well I literally skidded across the blood and into his arms and we heard a massive intake of breath from the crowd followed a split second later with rapturous applause as he managed to catch me and make it look like part of the act haha!
You have many different styles to your performing, have you ever had any professional training? I studied Performing arts specialising in dance technique which included contemporary and Jazz and also theatre dance styles. and leading up to that I did many dance exams and excelled in my results. I have a distinction profile diploma for my dance and drama. I have not been professionally hired outside of this other than the solo work I now do.
Is the music you choose important with the performance? Well the music I choose usually chooses me! As I mentioned earlier the music is usually my inspiration and a lot of my ideas stem from this first hearing.
I hope to be performing at regular events; I'd love to be involved in festivals such as Download and Sonisphere. Modelling is always welcome so I am looking to pursue that avenue also, really the sky is the limit. I hope to perform in music videos and in album artwork , all of these things appeal to my arty theatrical nature :) So any bands out there that like what I do - get in touch!! :p
What do you like to do in your spare time? Sleep! Haha! But seriously, I love to read and dabble in a little poetry writing. I wear pj's as often as is humanly possible and watch rubbish on the telly! Haha, uh-oh there goes my Rock and Roll image! I should have said I like to fuck all night and party all day Steel Panther stylee? ;p
Do you have any advice for anyone wanting to start in this business? I guess my advice would be keep sticking at it, you will find your place eventually, it is tough but worth it. I'd also say that finding something unique to you is a priceless tool, don't get caught up in a specific genre or competing with already established artists. Do what it is YOU want to do and you won’t go far wrong :)
Do you have a website or contact info where you can be booked? I do indeed :) Contact my Bride of Bloodshed page https://www.facebook.com/profile.php?id=100000851634469
Thank you so much for your time! Thank you! =)
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"Oh, I do like to be beside the seaside..." A Review of "Brighton Rock" (2010) Being British, I love British films and I also love gangster movies; in the sense of fantasy the concept of the "gangster underworld" appeals to me; the idea of power, greed and anarchy, being feared by all, and the idea of getting anything you want by any means is something I think deep down a lot of people would aspire to be like, just in the fantasy sense of course, because committing crime and murder is wrong kids!! I have always been fascinated by the Krays and people like that, "The Krays" (1990) and "Goodfellas" (1990) are two of my favourite films regarding the themes of gangster culture and the crime genre. Therefore, through having a love for British and gangster films, "Brighton Rock" (2010) is definitely the perfect choice for me, culminating the two.
Firstly I am going to discuss the background of "Brighton Rock". Initially "Brighton Rock" began as a novel written by Graham Greene back in 1938, depicted as a "murder, thriller" it was obviously set in the sea side town of Brighton during the 1930's. The story is focused on the character of Pinkie Brown, an up and coming teenage gangster, he is a sociopath, the protagonist of the story as well as being the anti-hero. The novel was then adapted into a film in 1947, directed by Jon Boulting and starring Richard Attenborough as the main character. The film looked at the criminal activities of an underworld gang led by Pinkie evidently taken place in an inter-war Brighton. One of the main themes in both the novel and film is the question of morality in regards to murder. While the 1947 version was considered to be one of the most gripping examples of film noir, the most recent film adaptation directed by Rowan Joffe, in which I am going to review changed the era of the film to 1964, focusing on the conflict between the two subculture gangs of the 1960's, the mods and rockers; this definitely works in terms of fitting in with themes of moral panics, youth and knife crime, which in many ways is still applicable to the issues we face in today's day and age in relation to knife and gun crime amongst gang youths commonly in London and most cities.
 During 1960's Britain outbreaks of violence would take place between the gangs particularly in a number of seaside resorts including Brighton during the Whitsun of 1964. Many were arrested and youths were hospitalised due to knife wounds. The difference in appearance between the gangs consisted of the rockers riding motorcycles, wearing leather jackets, the mods which Pinkie's (played by Sam Riley) character represented in the film, tended to wear suits and rode scooters. In terms of music the rockers were distinguished from the mods by listening to 1950's rock n' roll such as Elvis Presley, whereas the mods listened to 1960's soul, SKA and r n' b as well as British groups like The Kinks and The Who. The conflict between these two gangs resulted in the sociologist Stanley Cohen to coin the term "moral panic" in order to describe the going on's. The British media had depicted the conflict extremely negatively and placed it within the status of deviant behaviour, causing fear among the British public. Derogatory terms were given to the gangs, they were labelled as "louts" and "vermin". Papers reported them to be an "internal enemy" within the UK and disrespecting law and order. The media hysteria blew the whole conflict into bigger proportions, similarly as they do today, you cannot wear a hoodie without being stereotyped as a "thug" and for the mods and rockers in was the same back then. It has been said that the media would go as far as faking interviews with "mods" and "rockers" and try and make something out of incidents that had no relation to mod/rocker crime whatsoever. Once the media no longer had any actual mod/rocker violence to report about they resorted to associating any controversial social issue such as contraception, teenage pregnancy, any sort of violence and drugs to them... ...and there's my history lesson for the review. I now want to focus on the recent film adaptation in which if I had to describe it in a couple of words I would use "intense" and "gripping". I have a vague recollection of the 1947 version therefore watching "Brighton Rock" (2010) was like watching something fresh and new. As I have previously stated I think the change in era it is set in works and most definitely updates the story to an extent. Pinkie Brown remains to be a very complex character, he is young and ambitious, he aspires to be powerful and feared, the perfect comment on the fear of youth, Sam Riley gives a terrifying and powerful performance. I liked how the protagonist of the piece is also the villain, its not very common in films and for me personally I didn't want to relate to his character, his screen presence made me feel uncomfortable and on edge much like the behaviour of the character of his girlfriend Rose (played by Andrea Riseborough), she is fearful and timid but is evidently attracted to him and through hope and naivety she genuinely believes he loves and cares for her, resulting in her disregarding his criminal behaviour; without revealing too much I thought the twist at the ending where she plays his record was both sad and clever from an audience perspective'; the scene made me wonder if its sometimes better to live in delusion rather than know the truth, no matter how brutal it might be. I thought the film had elements of a Shakespearean tragedy, much like "Romeo and Juliet", there's feuding gangs and a twisted love story in the midst of it, there was also elements of "Bonnie and Clyde", we see hints that Rose would go to any lengths even threaten people who care about her e.g. Ida (played by Helen Mirren); perhaps the prospect of being with Pinkie gives her a sense of escapism and purpose, more than it would by working in a tea room. The shots of Brighton's coast and the cliffs were breathtaking, making the climax of the film much more spectacular and haunting. Helen Mirren's character Ida is probably the most likeable character in the film, she is headstrong and fearless but I did find it hard to believe at times that she would go up against someone as dangerous as Pinkie, her character wants revenge for the murder of her lover, then again her character is a comment on feminism and female empowerment and its definitely nice to see a woman emerge as the hero of the piece. Admittedly, the scene in which Ida's lover Hale (played by Sean Harris) is murdered is incredibly intense, I think what makes it all the more brutal and frightening is the fact it is committed in broad daylight, beneath the pier, with that there's the contrast of viewing Brighton as a nice family day out by the seaside while there's the dark stir of the underworld going on unknowingly, the scene happens close to the beginning of the film, with its build up and slow pace it most definitely sets the uncomfortable, dark tone for the rest of the film.
I really enjoyed this update of "Brighton Rock", I liked how they had modernised the story and added in the mods and rockers as part of the setting, giving an interesting spin on the original. I have never actually been to Brighton but I think through the cinematography the town itself was portrayed beautifully and I would definitely want to visit. The film consisted of strong performance especially from Sam Riley and Helen Mirren and I enjoyed the various cameos from some terrific British actors e.g. John Hurt, Andy Serkis and Steve Evets. Overall, the film gripped me from start to finish and the sinister portrayal of Pinkie will remain with me for a long time.
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You've gotta go there to come back- Oz on the West End
So I am shattered, I have just endured a gruelling bus journey from Aberystwyth to London and Vice Versa in the space of a day...and was it worth it?! HELL YES!! Andrew Lloyd Webber's brand new adaptation of "The Wizard of Oz" was outstanding amongst many other things. I went in with high expectations and wow it lived up to more than that. Last year I had followed the BBC reality series "Over the Rainbow" from beginning to end, which was the search to find the perfect contender to play the lead character of Dorothy, originated by the legendary Judy Garland in the 1939 film version. Initially when Danielle Hope won the programme I was slightly disappointed as I was in favour of Sophie Evans, the runner up to win as I felt she had been the contender who had grown the most out of the finalists and worked the hardest to constantly improve her performance; however after last night's fantastic performance I now realise exactly why Danielle deserved the part! Her version of Dorothy was much more fiery and she added charm and vulnerability to the role, her version of "Somewhere over the rainbow" sent shivers down the spine.
"The Wizard of Oz" has always played an essential part in my childhood, I used to watch the film over and over again, I knew all the songs and its probably one of my most quoted movies. As far as the stage version's concerned I have only ever seen local amateur and student productions, I saw it twice as a child, once on the Aberystwyth Bandstand and then in the Aberystwyth Arts Centre, more recently I saw another amateur production of the show there, but none of them can even compare to the epic-ness and magic I saw before me last night. The show's quality was almost cinematic, most notably the use of a revolving stage that helped the scene's transcend into each other smoothly, I had seen this effect done before when I attended a performance of "Dirty Dancing- The Classic Story on Stage" last summer, it is such a clever technique to use in theatre and makes the experience all the more spectacular. What made the show even more cinematic was the use of CGI especially in the storm sequence, it encouraged the audience to be interactive with the action, there were a lot of special effects in the show such as real fire used and the witch stunningly flying over the audience. I liked the use of colour and lighting in the production, the sepia tone and brown colours of Kansas echoed the film's opening, other productions have never made this effort resulting in no contrast with the bright colours of Oz, I loved how the stage lit up brightly when the famous yellow brick road made its appearance. I was glad Andrew Lloyd Webber stayed mostly faithful to the original but also liked that he added in his own touches. There were some new songs included written by lyricist Tim Rice, that slotted in perfectly, I think Webber wanted the audience to engage into other characters such as the Wicked Witch of the West and the Wizard as well as our main heroes through achieving this. One of my favourite songs from the musical which is not actually included in the film version is "The Jitterbug" it takes place during the woods scene before the witches castle; I like the intensity of the song and it has a jazzy sound to it, Webber did omit this from the stage version which left me slightly disappointed as its my favourite moment in the show, instead he replaced it with a number called "Red Shoes Blues" sang by the Wicked Witch, in which she casts voodoo on Dorothy so that she'll dance until she dies leaving the witch to reclaim her sister's ruby slippers, it still gave out a rather unsettling tone similarly to "The Jitterbug". I think Webber added this song also due to competing with the ever-popular "Wicked" that is also currently on the West End, I've yet to see it but from what I can gather from it is the Witch isn't just portrayed as your regular villain, she has a back story, she has motives for why she's so wicked which did shine through in this version, the audience needs to empathise with her just as much as the protagonists as each character has a motivation, they all desire something Dorothy (a home), The Scarecrow (a brain), Tin Man (heart) Lion (courage) and for the witch its her ruby slippers. Even though I could see why this was done and I did enjoy it I would have personally have still liked to have seen "The Jitterbug" performed.
The sets were just incredible, the witches castle had a Victorian Steam Punk style to it and the flying monkeys looked almost demonic, making it much darker than any other version. Also the emerald city had a 1940's New York and Broadway look, portrayed with the tall buildings and the fashion, evidently a hint to that style of show which "The Wizard of Oz" is, the characters are unaware that they're in a musical but that particular set represented the classic interpretation we have of how most musicals look. There was new humour added into the show, most notably in the scene where Dorothy is saying goodbye before she returns to Kansas, she says to the Scarecrow "I think I'm going to miss you most of all", nothing is questioned, but in this version the lion and tin man are put out by this and respond with "what about us? oh fine then" or something along those lines. For the first time in any version I have seen I wasn't annoyed with the Lion's character, I think in this version he is very underplayed and thankfully he doesn't sing that irritating song in the emerald city about being king of the forest! I think every single cast member in this production gave strong performances so I can't particularly single anybody out, I was so impressed with every element.
Regarding the mythology of Oz I have always been confused, I thought Oz was just a dream Dorothy had when she was knocked unconscious in the storm, but since "Wicked" emerged I had wondered how did that story work pre-Dorothy if Oz was something created out of one individual's imagination?! Then I realised during the beginning of the film, the title card insists the audience is open minded, now I believe Oz is truly a real place (within the mythology- not real life!) which was done nicely in the show, as in the ending sequence Dorothy is on the bed with her dog Toto, suddenly her wardrobe doors fly open to reveal her slippers. Magical. I think what appeals to me about the "Wizard of Oz" as a whole is that it gives out a strong message, metaphorically. You have to go there to come back, things aren't always what they seem and you don't realise what you have till its gone, I think most people can relate to this in life, I don't think I appreciated my home town until I left for a short period and the grass wasn't greener on the other side.
All I am going to say is that I recommend everyone to see this show if they get a chance, it is absolutely spectacular and well worth the cost, its a theatrical experience I will never forget. Its a visual masterpiece! 10000000/10! :P
Here is a preview, trust me, you'll be going straight to London once you see how stunning this is:
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I went to London on Monday night in order to attend a performance of the spectacularly beautiful "Ghost-The Musical" at the Piccadilly Theatre. The film is mostly iconic for its pottery scene!
I have seen many spectacular shows on the west end over the years and all have been amazing but there was something about "Ghost-The Musical" that stood out and (excuse the pun) it does literally make you suspend your disbelief! The special effects were of a cinematic quality. I couldn't believe my eyes when Sam actually walked through the door and vanished into thin air and of course near the end of the show when he is taunting evil Carl (played by Andrew Langtree) in his office, there was no one there and this guy was literally being flung across the room and messages were being typed on his computer from beyond the grave with no actor actually in sight. I found the whole tone and mood of the show was very bittersweet; I felt very choked up throughout the whole performance, but I think it was mainly because of the strong performances given by all the actors. I thought one of the most beautiful images was of their hands clasping together displaying the strength of their relationship and then breaking apart the moment Sam dies, conveying that everything is now distorted and has fallen apart. The lightning in the show was also very effective, in order to portray that Sam is a ghost he constantly had a white light shone over him in order to separate him from the other human characters.
In contrast Oda Mae Brown's songs were a lot more upbeat and I think her number "I'm Outta Here" was much needed in order to lighten the mood at times, it was definitely your typical, fun, all singing all dancing dream sequence Broadway number; as I previously stated I liked the soulful style Sharon D Clarke brought to the performance. "Ball of Wax" sang by the hospital ghost (Played by Mark White) came in not long after Sam's death and was also in the same vein of a showy Broadway fun number, however I felt the transition between the death scene and this number was done too quickly and maybe a more subtle song should have been used, as I wasn't quite sure what the audience was meant to feel, obviously sadness and confusion for Sam but then almost immediately it was like the audience is supposed to be humoured; but that's just my opinion; maybe I felt those scene's didn't really fit together. I liked how they kept "Unchained Melody" in as alongside the pottery scene, the song is an iconic feature in relation to "Ghost" and it’s just a touching song that describes Sam's situation after being torn apart from Molly. After an emotional rollercoaster of the first half, I enjoyed how the three characters came together (Molly, Sam and Carl) to conclude it displaying each of their conflicts in "Suspend my disbelief/I had a life", this was extremely powerful and left the audience anticipating the second half. The film version came out over 20 years ago back in 1990, therefore I liked how they had updated the story for the musical, for example when Molly is speaking to the police and they inform her Ode Mae Brown is nothing but a fraud they state the dates of all the times she committed fraud as during the last decade; I also loved the scene with the subway ghost when Sam is attempting to learn how to touch objects, "Focus" (performed by Adebayo Bolaji) was more of a rap number and definitely added a modern twist to the whole story. The villains depicted in the show were actually quite different from each other.
By this point in the show the waterworks had really set off, and the scene did that moment in the film justice. One thing I want to comment on is that Richard Fleishman really impressed me, he has grown and developed so much as an actor and made a strong leading man, and I think he definitely has a great future ahead of him.
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In this review I have decided to return to my guilty pleasure of the horror genre; as of late I have been reviewing films with a more serious tone and message so hopefully this review will be more light-hearted! (Well...In my twisted sense of humour anyway!). Last night I attended a screening of two recent horror films at the Aberystwyth Arts Centre Cinema, Spanish Chiller "Julia's Eyes" (2010) and the remake of "Mother's Day" (2010); I have to say that the audience consisted mainly of the Abattoir Horror Festival regulars and it was a good atmosphere, more like a large group of friends just watching a couple of horror movies together and having a laugh. Anyway let's kick off with "Julia's Eyes" : "Julia's Eyes" or alternatively "Los Ojos De Julia" (the Spanish title) is the first feature film to be directed by Guillem Morales. I think the film's premise sounded really interesting and different from a lot of Horror that is out there today; however I am unable to put my finger on it but I didn't really feel I'd gained a lot out of the film, I wasn't particularly scared and it didn't leave anything thought- provoking with me. I occasionally enjoy films that build up slowly and save the gore till the very end; in that sense the film reminded me a little bit of Takashi Mike’s "Audition" (2000); however the scene in question was more uncomfortable rather than over the top but just seemed pointless and used for shock value than having relevance. Unfortunately after building itself up fairly well the film failed for me on the fact that once we meet "the killer" it didn't seem to know what it wanted to do or where it was going to end and a lot could have been cut out; the plot felt very out of control. Many would agree that the ending concluded the film on a strange note; I suppose it ended hopeful for the protagonist; however it was overly cheesy and I felt like I was watching some weird Sci-Fi film, the tone separated itself massively from the rest of what we had just viewed. So "Julia's Eyes", a decent and interesting premise, a strong and well written main character and I admire that it decided to be different by having a blind woman as the protagonist; the film did fail on many levels, there were too many cliché’s and obvious twists and it consistently felt as if something was lacking.
I was on the fence as to whether actually go and see this film, my first thought was "The Hand that Rocks the Cradle" (1992) meets predictably boring horror remake and matters weren't helped after seeing Brad Jones's (aka, the Cinema Snob) review of the original along with Matthew Buck's (aka, Film Brain) review of this version on the That Guy with the Glasses site which left me very sceptical. I hadn't planned to bother seeing this but due to it being part of the Arts Centre Horror night I decided "yeah why not" and I was pleasantly surprised. I simply enjoyed this film because it wasn't trying too hard to be frightening or shocking for the sake of it and it used its humour very well. I can't remember the last time I laughed so much in a horror film literally from beginning to end, the lines were delivered at the perfect moments my personal favourite being "I don't like disco"; I suppose it’s weird to depict this film as "funny" and "comedic" but that is honestly how I felt about it. Rebecca De Mornay's performance as Mrs Koffin (The Mother) was utterly brilliant and yes it did feel a little recycled to an extent as she seemed to be playing the same psychotic character as "the Nanny from hell" in "The Hand that Rocks the Cradle" nearly 20 years ago but I do think she was perfect casting and played the role well giving both a sense of edge and humour; all the son's performances were also hilarious. I was pleased that this film used its violence subtly, I was expecting some crazy "torture porn" and over the top gore and I'm glad the film didn't deliver that and didn't try to sell itself purely on sex or nudity and only toyed with those ideas, it really made the film more refreshing in comparison to the recent remakes that perhaps take themselves too seriously such as "I Spit on your Grave" (2010) and "The Last House on the Left" (2009). The ending was a bit disappointing but I'm glad the film-makers were daring enough to be different and not go with the obvious audience expectation. I honestly feel like I'm describing a comedy here but the film for me was a fun horror and I would recommend watching it with a group of friends as it’s more of a laugh with a good atmosphere. Yes "Mother's Day" (2010) (dir. Darren Lynn Bousman) is flawed and silly but I really did enjoy it. Now remember kids: "Don't miss behave" ;) References:
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Day of the Crow
I inevitably associate crows with that scene from Hitcock’s ‘The Birds’ when they mass on the climbing frame. And whilst you’re probably safe from any sneaky winged attack, from note one Day of the Crow offer that same suggestion of something about to happen. In this case it’s a heavy barrage of provocative riffs with a streak of bluesy groove. Of course it’d be easy to compare them to the likes of Pantera and Lamb of God, but instead I’ll liken Day of the Crow to the kind of hard tinny spread those bands would enjoy on their morning toast. That’s not to say they’d eat them for breakfast, more that Day of the Crow are the sort of iron bellied nourishment that I imagine would go down well with such figures. In much the same way as Lemmy is recognised for his distinctively gravelly sound, so vocalist Dan Pickering has the rasp of someone who has swallowed down a whole desert only to find there’s no vending machines in the vicinity. Musically, former Decimate guitarist Alex Kelly takes the lead with his perfectly paced yet intricate solos – most interestingly in the stop-start teaser of ‘Into the Wake.’ Yet as ‘Broken Black Wings’ sorrowful opening slowly paces in we are treated to an altogether more melodically smoothed vocal approach. Ok so you can imagine the video being shot in black and white, and potentially on a cliff edge/graveyard/*insert poignant location*, but by default ‘Broken Black Wings’ also has the emotional impact to go with it. Ignoring the pun, Day of the Crow will have you spitting feathers that you hadn’t heard of them before now. Find yourself a spot on the climbing frame and prepare to take flight.
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White Trash Circus
As a band toting the name of a Motley Crue song, there are no surprises and certainly no shiny gameshow prizes for guessing that White Trash Circus are as rock as the neckache associated with a night’s headbanging. However, hailing from the somewhat less glam Edinburgh, White Trash Circus are more backroom rock and roll than the gloss of the Crue’s bright-light stage show. Ok, so its straight-up rock n roll – no frills, no gimmicks, and... no thrills? Perhaps not for those who say they’ve seen it all before, and yet anyone with a real passion for rock never gets past that momentary clench that comes with hearing fingers and feet pulsing the hell out of instruments.
Vocally, White Trash Circus see-saw between a gruffer tone and Axl Rose territory – particularly in ‘Break the Chain’, which has more than a glimmer of ‘Guns ‘n’ Roses’ about its chops, but are best when it’s easy to hear the accented character as in ‘Never Back Down’. This is probably White Trash Circus’ signature track and quite rightly so – from its foot-tapping bounce riffs to its straight-to-memory chorus, it’s back-to-basics, and good for it.
Although these tracks hail from the band’s 2008 EP, things have been a little quiet in the White Trash Circus camp for a while following various line up changes. However as they look to lock this down, 2011 is earmarked as the emergence of the new White Trash Circus sound. Hopefully one that borrows just a touch more Motley Crue spark to really bring the circus to town. |
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| ALBUM REVIEWS Past and Present Albums under the Spotlight! Scroll down to read through all articles or select one of the links below to jump to another section |
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Rival Sons - Pressure & Time by Shelia Hamilton
Released: June 2011 Earache Records Rating: 4/5
Rival Sons latest album “Pressure & Time” is like a trip down memory lane, back to the 60’s & 70’s for some raunchy blues-infused rock and roll debauchery. The guys have gone from strength to strength. They are gain new fans from all around the world, along with the superb support slots that they have managed to land. The next 6 months to a year will see how far Rival Sons can go forward and grow. Jay’s has an immense vocal range and distinctive sound, combine this with the other musician’s talents you can tell that this album has been perfectly designed to make listening to the album an aural pleasure. The album flows well and there are no nasty surprises on here, just quality tracks. This is a great summer album to listen out in the sunshine as you would back in the Summer of Love.
Track Listing 01. All Over the Road
Lineup Jay Buchanan (vocals), Scott Holiday (guitar), Robin Everhart (bass), Michael Miley (drums)
Rival Sons:
https://www.facebook.com/rivalsons
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Limp Bizkit – Gold Cobra by Matt Seddon
Yes, the lords of NU metal are back, and with their triumphant return have come yet another wicked album from the minds of Fred Durst and co. Gold Cobra is back to basics for Limp Bizkit sounding like the tunes everybody wished for when the Bizkit released less than average albums such as The Unquestionable Truth (Part 1). With great choruses, raps and some of the bounciest NU metal guitar hooks ever. Limp Bizkit have reaffirmed the faith with party like vibe in metal which the world has once again embraced with open arms and baseball caps. Hold on, because the Bizkit are back, and they are better than ever! There are so many catchy NU metal anthems on this album that fans of the band and no doubt any metal fan can recognize, as Gold Cobra is one of these albums which will be played at most metal club nights and metal bars. It’s so diverse it’s unbelievable and as well as experimenting with new ideas and styles – Limp Bizkit have gone back to what they do best, and as you can see with tracks like ‘Shark Attack’ which is basically Break Stuff’s sister song, and ‘Walking Away’ which breaks up all the aggression and bouncy riffs like My Way off of Chocolate Star Fish and the Hotdog Flavored Water. These 2 tracks alone show that the Bizkit haven’t lost it and are as good, even better in fact than they were 11 years ago! As per usual Mr. Durst’s choice in lyrics always has your tongue in cheek at just how cheesy and quite frankly...... Rubbish, they are. Gold Cobra does not change lyrically in anyway and the vocal lines are as cheesy as your mum’s milk, but it’s this comedy gold in tracks like ‘Douchebag’ when Fred Durst sings: “Douchebag, I’m going to, fuck you up, fuck you, fuck you, fuck you up”. It’s like Jesus dude, could you not think of anything else apart from swear into a microphone, you’re hilarious, but you’re Limp Bizkit. Think of some awesome lyrics. The first single to be released from Gold Cobra was the track ‘Gold Cobra’ which not only has the bounciest riff known to man, but also in the music video version has a girl shaking her tits to this killer tune. When you pick out individual parts; one you can see just how awesome of a guitar player Wez Borland is. Two, how powerful Fred Durst’s voice is, and three, just how cool DJ Lethal is. Gold Cobra has to be the catchiest album of the year. With its crumby, pubescent, gimmicky lyrics and a hell of a sonic boom to back it up with, Limp Bizkit have managed to release one of the finest albums of their career, leaving fans on edge for the next feel good fun fest from the world’s most bad ass band! [8.5] |
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Eureka Machines – Champion The Underdog by Polly Phluid
I’ve known Chris Catalyst for more years than I care to remember. It’s a bit strange reviewing a mates band and, if this was Eureka’s first album I’d have been very wary. Do or Die is a cracking slab of plastic, but it still sounds like a mate’s band to me. It’s brilliant, but it’s still Chris. With Champion the Underdog, that went out of the window and Eureka Machines became an awesome band I know the members of … does that make sense? Probably not, but this is my review so I don’t care. Sure there are cracking riffs, sure there are multi-part harmonies, sure there are stunning, melodies – but then, that could be said of Silversun, or Jellyfish … that’s another couple of bands I can hear in this, too. But don’t be fooled into thinking this is all fluffy pop-punk. There are dark moments here too, with Chris’ lyrics swinging between witty cynicism and biting black humour. He should get a medal for ‘Don’t shoot your mouth off if you’re firing blanks’. Chris has worked hard here, being the main song writer, but his 3 band mates are equally brilliant. Wayne Insane, possibly the greatest name for a drummer ever, pounds the kit like a man possessed. He has a flair for knowing when to do his thing, and when to keep it simple. Davros, who is looking remarkably young for a man who has been evil overlord of the Darleks for over 5 decades, is kinda Chris’ sidekick, perfectly mimicking riffs and adding amazing harmonies wherever called upon. Last up, the rubblehammer man and newest addition to the line up, Pete Human. He’s fitted right in, once again playing like a demon AND singing like an angel.
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Pretty Hate Machine
Musical genres can come and go. Some stick around, never change and smell all fusty, some die almost as soon as they are born while some mutate and divide like Ebola on crack. To change, a genre needs to take hold of new technology, philosophies or styles Nine Inch Nails were the band (or the man, as it turned out) who helped steer metal away from a Denim and Leather cul-de-sac and onto the super-highway of ever changing brutality. Pretty Hate machine kicks in with an song that became a dance floor favourite and the battle hymn for a million disenfranchised metal kids all across the globe – Head Like A Hole. Moving through the rest of the album, Terrible Lie uses descending keyboards and 80s synth riff to create the hate, and very effectively too … Something I Can Never Have is haunting, kinda like a ballad, but with added menace …then Down In It, Ringfinger and Kinda I Want To are all danceable, moshable loathing filled gems. Whereas, over in the US the mix was more hardcore, - less about getting loved up and more about getting fucked up. We liked that, we all liked that, and before long the formula was being bandied about all over the place. NIN kicked in the door of established metal and painted all the walls in digital Graffiti. |
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| CLUB FOCUS All the latest from the UK and USA Alternative Club Scene! Scroll down to read through all articles or select one of the links below to jump to another section |
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| Club Antichrist presents 7th Birthday Circus on June 24th! By Jo Blackened
Friday 24th June 2011 saw the 7th Year Birthday Celebration of Club Antichrist with their Circus/Sideshow/Freakshow Themed Event held at Club Colosseum, Vauxhall, London. Co-founded by Dominic Void, Club AC has become one of Europe's largest Crossover events; with packed dance floors, including the well known ‘PUREFUCKINGINDUSTRIAL’ and the ‘Hellfire Room’; with some of London’s most established Industrial Dance DJ’s including DJs d.Void, DJX, DJ Stix, D.Void, and Jon Thegoth, AC is now firmly regarded as the Premier Industrial club in the UK. With now 7 years experience, and booking some amazing alternative acts and bands around it was time for me to go see what all the fuss was about!
This is actually my second time to AC, on arriving to the venue I remembered the entrance well, bringing back fond memories of a fun & drunken night many years ago, I was keen to see if the Venue had changed much since then.
With a friendly greeting & the owners on hand sorting out passes & Guestlists it wasn’t long until I was inside. The Venue is lovely, small but cosy and intimate, it did take me some time for me to get my bearings but the layout is pretty much in a circle so no matter where you walk, you can always find out where you started off! Tonight I saw acts from ‘Theatre of Sin’, Wunderkammer; featuring glass eating, glass walking, human blockhead, bed of nails, the human dartboard and hanging a 14lb bowling ball from his ear lobes. Shanklin Freakshow were also on stage with their naked dancing girls, the tattooed girls from the Satan’s Strip Show, aswell as the sleazy electro ‘Mechanical Cabaret’ and performances from, MisSa Blue & Marnie Scarlet. I liked the fact that all the themes and performance’s tonight were allocated in separate rooms, meaning you could choose what kind of night you wanted. You could choose to stay in the Hell Fire Room with some amazing DJ’s waiting for the bands and performers to take to the stage or you could simply go next door and dance the night away with DJ’s such as Jo the Waiter and Steve Nine! For those of us with a naughtier side to our nature there is always the Devil's Playroom, with the Playpenz dungeon hosted by Mistress Rebekka Raynor and Monitors all ready to dish out some punishment for those deserving! With the intimate secluded ‘Couple’s Dark Room’ for those of us who simply cannot control our sexual urges any longer on the comfort of sofa beds, aswell with the Club providing free Condom’s & tissues to those in need!
And those looking for some recovery after all this, there is always the Chillout Room; which is actually open from 8pm, so you’re welcome to arrive early and have a few drinks before the club is open, serving drinks cheaper than pub prices! Also on offer was a Thai food stall, free tea and biscuits and even Maid service after 3am, and again in every room there are DJs playing a selection of more chilled tunes quietly, making it easier to sit and chat! The people are really friendly there and were more than happy posing for photos, with everyone having a really good time...which ever room they were in!
It wasn’t long until the night was coming to an end & I have to say I had an amazing time, with so much on offer there really is something for everyone here! I was also surprised to see custom made fangs, aswell as FREE birthday cake, usherettes with free sweets, PhotoBooth opportunities, Kitty Minx Vintage Stall, AC merchandise stall, living statues including ‘Sophia Disgrace’, stiltwalkers, ambient anglegrinders aswell as an outside smoking area.
Wth the chill-out room opening at 8pm for the pre-meet up drinks with Happy Hour from 8pm-12am, Club open at 10pm and last entry 3am, with the club closing at 6am and tickets at £25, there is no wonder AC Events are always a sell-out especially with their ‘Early Bird’ Tickets and member discounts!
This is one club I will now be attending on a regular basis! For Marnie Scarlet performance please see below;
Feature & photos by Jo Blackened of Altercarnated Photography
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