Showing posts with label punk. Show all posts
Showing posts with label punk. Show all posts

Thursday, 31 May 2012

Billy Talent: Live Review

Concorde 2: 29th May 2012.




The queue outside of the Concorde 2 was full of punk rock fans of all ages dressed in home made punk jackets complete with studs, spikes, safety pins, badges, and patches. As the night went on, the layers of leather were slowly peeled off revealing more and more flesh until half the venue was full of naked torsos glistening with sweat. This striptease was much like Canadian punk rockers Billy Talent’s performance, as the revelations during their set kept on coming (and I’m not just talking about lead singer Benjamin Kowalewicz’s tattooed chest!)

Before we talk about unbuttoning shirts and sweat soaked fans, credit must be paid to the support band ‘Time Is A Thief’ whose job of ‘warming up’ the crowd was already being done by the venue’s scorching temperatures but they certainly got things sizzling. The Irish foursome had an impressive stage presence and commanded the rowdy crowd well, treating them to hard-hitting riffs, and searing vocals as they played their way through a striking, classic rock set. The unsigned band proved they have the potential to take the rock stage by storm, and have the energy, raw passion and song writing ability to sell out tours of their own in the near future.

After the support act’s exciting performance the anticipation in the room was electrifying, and moments before Billy Talent burst onto stage there wasn’t a person in the room who wasn’t chanting their name, clapping their hands, or stomping their feet. The quartet sprung into the venue as crowd favourite ‘Devil in a Midnight Mass’ ripped through the speakers to kick off the first show of their festival warm up tour.



The band erupted the room into a pit of rip-roaring fury as they exploded through their set list accompanied by an intergalactic light show. It’s a testament to their unrelenting energy that halfway through second track ‘Living in the Shadows’ all four band member’s black shirts were glued to their bodies by sweat. Cue unbuttoning.

Front man Benjamin Kowalewicz joked about the heat as he writhed, wriggled, thrashed, and crashed his way across the stage all night.
Throughout the set he told the crowd how excited he was to be back in Brighton: the place where his mum was born and his grandparents were married.
As a celebration of drummer Aaron Solowoniuk’s first live performance since he underwent open-heart surgery four months ago, the band chose to debut their brand new single ‘Viking Death March’. A politically motivated song that incorporates the high-energy drumming, tight guitar riffs, and unique screeching vocals that Billy Talent are famous for.

One of the highlights of the night was during the breakdown of ‘Try Honesty’ when all you could hear was a room full of adoring fans chanting the lyrics ‘Forgive me father, why should you bother now?’ with only the bass line whispering through the speakers for company. Spine tingling moments like these are what make great gigs magical, and as Benjamin Kowalewicz said what makes slugging it out on tour all worth it.



When they returned to the stage to a room full of chanting fans demanding an encore lead guitarist Ian D’Souza performed a rip-roaring guitar solo proving why he’s considered one of the best guitarists in the genre.
They saved the best ‘til last with ‘Devil On My Shoulder’, ‘Fallen Leaves’ and ‘Red Flag’ keeping the crowd slamming around for as long as possible.

Before the sweat soaked punk rockers left the stage for the last time they made one more revelation that Brighton was first on their list of places they wanted to return to on their UK tour starting later this year. After a performance as impressive, and infectious as that there is no doubt that Billy Talent tops many lists as greatest live band you could hope to see.

Monday, 9 April 2012

On genres.

Just a word about music genres: They are worthless.
A typical everyday conversation between me, and others often goes like this, "What kind of music do you like?" "Metal." "Cool." ... A few minutes/hours/days/weeks/months pass and I happen to mention my affection for, say, Blink-182 and BAM "Whoa, wait! I thought you liked metal and now you're tellin' me you listen to blink? You listen to pop-punk but you like metal?..."

Here's the thing it doesn't matter if you're a raging metal head with straight black hair down to your knees, ten pounds of metal punched through every orifice in your body, six inch platforms, and Norwegian death metal blaring out of your iPod at any given moment, if you wanna kick back and listen to Sonny and Cher once in a while then more power to you!

Genres are simply a way of segregating and organising bands into categories in a record store... Last time I checked we're not records, and we're not being organised into a rack. "Hey you, yeah you with the pink mohawk over there - don't even think about talking to the kids in plaid shirts."

So whatever, let's all just love and enjoy music - not genres, but MUSIC. (Oh, and this has absolutely nothing to do with the history, or culture, or empowerment of movements etc. I'm just talking straight up categorising).

Music genres are worthless boundaries.

Now I'm off to go listen to Jimmy Eat World. Party on.

Saturday, 21 January 2012

A Flash Flood Of Colour

With such high expectation surrounding the release of Enter Shikari's third studio album, the boys made sure they delivered something that would not dissapoint and would not be forgotten in a flash...
A Flash Flood Of Colour begins with 'System...', with opening lyrics of a beautiful metaphor comparing our dear old Blighty to a house succumbing to the eroding cliff face of it's foundation...
'There was a house in a field on the side of a cliff, and the waves crashing below were just said to be a myth, so they ignored the warnings from the ships in the docks. Now the house on the cliff is the wreckage on the rocks.'
This is a clear indication of where the albums heading, and from there on out the metaphors keep getting better, and the message keeps getting stronger.
It was clear from the band's second album, 'Common Dreads', that they were moving towards being another 'political' band with something to say - but it's frontman Rou Reynold's passion, and venom-spitting conviction with his lyrics that seperates them from the rest. Not all the glory lies with Reynolds, however, they are very much a band whose successes rely on the strength and solidarity of them as a four-piece. Their notorious live shows are packed-full of high energy, sheer passion, and madness from the word go thanks to loyal fans, and a unified band.


A Flash Flood Of Colour has been sitting on the top spot of the album charts since it's release on Monday, which sparks suggestion that they are moving toward mainstream success - however, you can rest assured this is not a band who look like buckling to mainstream pressures. They have achieved their success by sticking to their guns, and pursuing their beliefs - clearly demonstrated throughout the 11 tracks on the album.
A number one album for a band like this would be a triumph for independent music, and real music fans - fans who follow the band religiously with anticipation and excitement. Fans who buy albums, and travel around the country to secure their place in as many mosh pits as they can. Fans who feel a part of the movement.


This album is not only their angriest, and most aggresive yet but their most beautiful. Amongst the sonic barrage, there are moments of pure tenderness and poignance in songs like 'Constellations' and 'Stalemate' whilst maintaining a strong sense of purpose and direction.
Songs like 'Sssnakepit' and 'Gandhi Mate, Gandhi' seem to be steered on pure adrenaline & rip-roaring choruses as they tackle their anti-communist spiel.
From beginning to end, the album is like an assault course of experimentation, from it's electronics, classic metal-riffs, piano, brass & string arrangements to acoustic guitar, it has it all.

One things for sure, unlike their message in 'Arguing with thermometers', "you haven't thought this through have you boys?" - it is clear that they have thought this through, and in doing so they have delivered an album with brutal conviction, unrelenting energy and impressive spirit.


Sunday, 8 January 2012

Albums to hear before you die.

Part 4.


It seems only appropriate to start off 2012 by talking about, perhaps, the most influential and groundbreaking album in music history. 
Ladies and Gentleman, I give you the album that changed everything...


Never Mind The Bollocks, Here's The Sex Pistols - Sex Pistols. 
Released in 1977 to a barrage of controversy from the 'obscene' album name, to the opposition over the lyrics to songs 'Anarchy in the U.K' and 'God save the Queen', Never Mind The Bollocks, Here's The Sex Pistols was to be the only album the band ever recorded and released.
Rotten's assault of angry vocals with a bitter, spit-slurring, foaming delivery was the first of it's kind at the time of release, as was his use of profanity to convey the band's message in the most impolite, and controversial manner possible. Despite the alternating between screaming, whining and growling the Pistols' managed to do what so many bands have failed to do since them: clearly present the listeners with harsh social critiques and commentaries, as loud and clear as a smack in the face, under a wall of noise and rage brought to us by the bass guitar of Jones, Matlock & Vicious and the drums of Cook. 
To merely write this album off as a bunch of ragged punk rockers recording an album of loud, grating noise, lacking in melody with a shredding vocalist would be a big mistake. 
Sex Pistols opened the flood gates for a generation of bands to rebel against society, political hypocrisy and corporate control - however none came close to the punchy, overwhelming energy and take no prisoner's attitude of the Pistols'. 
A twelve-track musical revolution with a force that shook the framework of music history forever, with an influence so profound it's unconfined to genres, or generations. 







Monday, 26 December 2011

My Favourite Albums of 2011.

La Dispute - Wildlife (No Sleep Records, October)














We Are The Ocean - Go Now and Live (Hassle Records, April)














Rival Schools - Pedals (Atlantic, March)














Anthrax - Worship Music (Megaforce, September)














Funeral For A Friend - Welcome Home Armageddon (Distiller Records, March)














D.R.U.G.S - Destroy Rebuild Until God Shows (Sire, February)














You Me At Six - Sinners Never Sleep (Virgin Records, September)














The King Blues - Punk & Poetry. (Transmission Recordings, April)














Deaf Havana - Fools and Worthless Liars. (BMG, November)














Foo Fighters - Wasting Light (RCA, April) 














Rise Against - End Game (Interscope, March)














Red Hot Chili Peppers - I'm With You (Warner Bros, August)













Saves The Day - Daybreak (Razor & Tie, September)














Beastie Boys - Hot Sauce Committee Part Two (Capitol, April)













Sum 41 - Screaming Bloody Murder (Island, March)

Thursday, 15 December 2011

Albums To Hear Before You Die

Part 3.

Fans of Green Day, Alkaline Trio and Offspring take note. - your fave bands might not have sounded like that if it wasn't for this band, and this album...

Suffer - Bad Religion.
Released in 1988, NOFX's Fat Mike reckons that the band's third studio album is 'the album that changed everything'. The lyrics written by the articulate, creative and scholarly intelligent Greg Graffin are clever and timeless - opening track, You Are (The Government) is as relevant today as it was 24 years ago; "Hey sit down and listen and they'll tell you when you're wrong. Eradicate but vindicate as "progress" creeps along." 
Not one of the 15 tracks exceeds 3 minutes which was either a tactful, and somewhat brilliant decision in maintaining the sharp, aggressive attack of the guitars and punchy vocals or a lucky coincidence.
Blending punk-rock riffs, hardcore hooks and powerful lyrics is what makes this album such an influence on albums like 'Dookie' and 'From Here To Infirmary' - without this 23 minute masterpiece, the future of Punk Rock might have been a very different sound.
It's raw, it's clever, it's off the wall, and it should be in your CD rack.
Favourite Track? What Can You do?