Date: 28th august 2018
Review and Photography By David William Hatton
Tonight I am back in Camden at the Underworld.
After doing a good deed (by holding open the toilet door for a fellow who was on crutches, making a quip about how holding the doors is as far as I can help), it’s time to get down front. It’s great when you walk into the venue and the opening band are just about to play.
First on stage is Kingston-upon-Thames blackened hardcore peddlers Wound. They may live near the Thames but they don’t water their music down, attacking the senses with heavy sludge hardcore.
Head screamer Luke Kempton rips the stage a new one, strutting and barking his way through the band’s 6 song set.
They put in a fantastic performance, playing songs from their self-titled EP, Benevolence and The Infernal Sea; these are fine blackened hardcore songs, and the only material I had heard.
A solid head-bobbing start, I will keep my eyes peeled for futures shows and releases.
Sorcerer of serpents
The Infernal sea
Fall of Saigon
Manchester’s hardcore heavyweights have come to bash in your brain, musically of course.
The northern trio can as well be described as heavy bastard hardcore, dissonant filth or just a downright head smashing core.
Songs like The Stone And The Steel and By The Factories stand out with the tormented grindings of guitarist Judd:
The bass/vocal onslaught of Laurie:
Together with lean mean drumming machine Tom, as he pounds out the fucked rhythms beneath the grind:
Their songs come at you fat and fast, 11 songs in around 30 minutes.
No jibber jabber between songs, a professional set, and a no-nonsense approach to playing gigs.
The Stone And The Steel
By The Factories
A Mouthful Of Dirt
Cripple The Herd
Harrow The Pastures
The bands switch equipment, and on walks a banner maiden carrying Dawn Ray’d’s stage banners, followed by a man on crutches: lo and behold, it’s the same gent I opened the WC doors for.
I am looking forward to Dawn Ray’d and so is the gathered crowd.
Dawn Ray’d are here to challenge and oppose the norms of the black metal scene. They also display open dislike of NSBM (national socialist black metal), exclaiming death to all fascist apologists.
Dawn ray’d don’t stray too far into the folk metal scene; I overheard an audience member say to his mate in the crowd as they set up, “oh shit they aren’t a folk band, are they?” I would say no, in the same way My Dying Bride isn’t a folk metal band.
In all honesty, I felt their music lacked a little bit of spark. After two songs I had lost interest, as the songs just seemed repetitive.
The Abyssal Plain
Cauldron of Rebirth
Strike Again The Hammer Sings
Emptiness Beneath The Great Emptiness
Full of Hell
Touring the UK to support last years release Trumpeting Ecstasy, US noise-mongers Full of Hell bring their aural assault to Camden, and are here to crush you into oblivion. Live is where you experience the sheer extremity of their sound.
Tonight’s stage set up includes the addition of some abstract percussion: a used beer keg and some wire basket and chain; looks like we might be in for some experimentation.
Having collaborated with Japanese noise composer, ‘Merzbow’, who knows what lies ahead.
Full of Hell are just extreme. What words would suit what I witnessed tonight?
Fronted by vocalist Dylan Walker, screaming and grunting:
The blasting savagery of drummer Dave Bland makes him a fury on the skins.
When I saw Mick Harris live for the first time, a part of me just had to laugh at the sheer ferocity.
Charged with the task of reviewing and taking shots, I didn’t manage to get Full of Hell’s set-list amongst the cacophony, but I managed to pick out a few songs I recognised.
Thrum In The Deep got the stage divers into action; in a bid for health and safety, one kind stage diver wore a fluorescent safety vest, totally suitable for the utter insanity that was occurring on the stage.
Now, as I stand on the side of the stage, I know what the abstract percussion is for. I glimpse what looks like a familiar face, but not quite sure where I know it from, having never been this close to what can only be described as one of the best drummers of the early 90’s: it’s Igor Cavalera from Sepultura and current project Mixhell. By the time I’d come to my senses, he had picked up a pair of sticks and is heading towards the keg set up. As surprises go, this is mega.
Simply put, what an evening, as heavy a line-up as my ears will probably suffer this year.
As I leave the venue to head home, I know I have witnessed a proper fucking gig. Call it grind, call it hardcore, call it amazing.