Posts Tagged ‘Protest The Hero’

Protest The Hero – Pacific Myth … get up on that!

Posted: October 16, 2015 by kingcrimsonprog in Uncategorized
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The Canadian Prog/Metal/Punk/Whatever band; Protest The Hero, one of the best bands in the entire world both live and on record (not hyperbole, my actual true opinion!), have forgone the traditional record cycle in this increasingly messed-up state of the music industry’s piece-by-piece demise. We always read and hear the industry can’t get by on the old model but what could take its place?

Different bands have tried different approaches, from Nine Inch Nails and Radiohead’s pay-what-you-want experiments with full traditional albums, to Motley Crue’s just release a single song every time they need a paycheck approach, to Down’s split-the-thing into four separate EPs approach.

Protest The Hero have launched a subscription service called Pacific Myth, where you sign up for 12 US Dollars per year, and they’ll release a new song with an instrumental and vocal version and unique artwork each month.

Here’s the initial month’s offering:

Its a 3 minute and 45 second tune called ‘Ragged Tooth,’ which is similar in direction to the style on their most recent album Voltion. Heavy, quick, a lot of changes, the same fun driving drumming (although no Chris Adler here this time! Its Mike Ieradi now. A very good match and a great live player) and so may different vocal appraoches its almost hard to keep track. There’s an awesome videogame sounding guitar lead at one point but not in that annoying novelty way.

Its given standard and as an instrumental, and the download comes with the artwork in a way you can print out it you like.

The band also had this message:

“Thank you for your support! Thanks for your unceasing support. We are continually blown away by the forward-thinking crowd we tend to draw in. Some people refer to subscription models for music as the final death gasp for independent artists. We refute these sentiments, and with your help, we intend to expose these people as the pessimistic clowns they truly are.”

I think its a cool model, I love traditional album format, but its going to be nice having a new release every single month and then I’ll never be sick of the band, there’ll always be something fresh, and I don’t have to wait years to get it. Always something to look forward to at an attainable distance away, and it seems reasonably good value for money. I’m very in favour of it, and as it is such a damn great band I sincerely recommend any of my readers to check this out, and any existing fan of the band to obviously jump in and support them if you haven’t already.

Hello and welcome once more to yet another edition of my blog series, Get (Into) What You Paid For; a series in which I blog about music and media I own, to distract myself from the fact that I am sworn off buying anything new for a month (or in this case, two months).

Its day 52. 52 days without buying myself anything. I think that’s a new record. I don’t think, since getting my first job at 16, ten years ago, that I’ve ever went this long without buying something along the lines of a book, cd, dvd, videogame etc. for myself. I’m a big old spoiled Western consumer of the hardest core.

I’m also tempted to break my pledge not to buy anything because Batman Contagion is on eBay at the minute for only £4 and that’s been on my wishlist for a year now. Time will only tell if I break my resolve and buy it. Maybe someone else will buy it first and the problem will go away.

I’ve also saw in town a shop selling In The Court Of The Crimson King on Vinyl. Its £17 though, and for my use of it as merely a poster for my wall, that’s not worth it. Why is no one selling it used for £3? Anyway…

Its been an excellent few weeks. I’ve been eating super healthy (constant soups full of dozens of veg, and smoothies full of dozens of fruit and veg, adding spinach to normal meals, eating less meat, massively reducing my intake of junk food, almost giving up chocolate completely) and I’ve been exercising a lot (going for walks almost daily, lifting weights frequently). Most of this was in the sun and away from the city, but even this last week when I did return to the city, I’ve kept it up. I even kept it up yesterday on my first day back at Uni. Next week, with a return to work, and full-week Uni, will be the real challenge.

At any rate, everyone is telling me I’ve lost weight. To the point where I actually believe it. Take home message: get more vitamins and go for walks = Thin Jim. Hopefully I can keep it up.

During this time, I’ve been experiencing the delights of Manowar, the new Down EP, a whole heap of Accept, some early Savatage, and trying out Minor Threat.

I’ve also been gifted a butt-load of comics related stuff which I shall try tonight after weightlifting. Those two things, lifting and comics, (with a healthy dose of Hammerfall in the background), should help me stay off eBay and avoid breaking my pledge.

Also, my house mates got me the newest Judas Priest and Trivium albums, as well as Ozzy’s Tribute live album with Randy Rhodes, and Soundgarden’s recently reissued debut EP, Screaming For Life/Fopp. I’ll deny myself these goodies now, and open them in a month, so I have something to look forward to in a month, and hopefully that will stop me buying any new music between now and then. Even if buying Raven or Tank albums on iTunes is tempting….

Anyway; here’s what else I’ve been up to, in order to distract myself from my materialism.

First off, for my own entertainment, and your information, I’ve complied the following list:

Albums I Have Fallen Completely Obsessively In Love With, in roughly chronological order of it happening:

Protest The Hero – Kezia
Gallows – Grey Britain
Helloween – Keeper Of The Seven Keys Parts 1 & 2
Queensryche – Operation Mindcrime
Accept – Stalingrad
Rishloo – Feathergun
Chimaira – The Infection
Mastodon – Crack The Skye
Kiss – Alive
Genesis – The Lamb Lies Down On Broadway
Jethro Tull – Thick As A Brick
Gentle Giant – Octopus
Pink Floyd – The Wall
Arctic Monkeys – Whatever People Say I Am’
Forbidden – Forbidden Evil
Megadeth – So Far So Good So What
Anthrax – Among The Living
Pantera – Vulgar Display Of Power
Powerman 5000 – Tonight The Stars Revolt
Jetplane Landing – Once Like A Spark
The Libertines – S/T
Mudvayne – The End Of All Things To Come
Slipknot – S/T
Green Day – Warning

I also had huge Led Zeppelin, Nirvana, Napalm Death and Monster Magnet periods, but no single album ended up getting the focus of that huge obsession. Zyklon, Carpathian Forest, Mars Volta, Riverside and Gamma Ray are all almost up there for an album each (Aeon, Defending The Throne Of Evil, Ochtahedron, ADHD and Land Of The Free) but I can’t bring myself to fully commit to writing them down for some reason. Motley Crue’s Theater Of Pain is kind of getting this way at the minute so we’ll see how it pans out, its probably the newest name on the list. Some that are up there have faded, but some are as strong as ever.

Now here’s what I’ve been distracting myself with recently, excluding the aforementioned birthday gifts (I’ve been absolutely hammering Manowar, and that new Fratellis album):









I really like the Alice In Chains demo “Social Parasite” …its quite good fun.

I’m thinking of digging into some really under-listened albums next, like the Napalm Death covers albums, Anathema’s Falling Deeper, Sodom’s debut, Fear Factory’s Soul Of A New Machine and Forbidden’s Green. Then I think, maybe I listen to them so little because they aren’t good.

I remember going back and listening to all my Nu Metal albums like Static X and Spineshank and Ill Nino for a similar reason, but I never blogged about it because I was so snowed under with Uni essays at the time. I found that to be be a worthy exercise for surprise enjoyment (“Ostego Undead” is more fun than I remember), so maybe listening to records that I think of as duds may prove worthwhile too.

I’ll let you know what I chose. Right now I’m off to lift weights while watching the Justice League cartoon. See you soon…

Hello and welcome once more to yet another edition of my blog series, Get (Into) What You Paid For; a series in which I blog about music and media I own, to distract myself from the fact that I am sworn off buying anything new for a month (or in this case, two months).

Its day 40, and I haven’t spent anything new in the last three days… hey, I’m getting the hang of this! Maybe if I keep this going long enough I’ll be able to break free of the habit of spending so frequently. I could use that money for fresh fruit and vegetables! (I’m on a health kick at the moment and that seems like the best use of my money in my current state of mind). I’ve also been experimenting with baking and online grocery shopping with mixed results. I’m planning on being a more successful human being for the next year, more organized and nourished and with more strings to my bow.

Continuing this self-improvement theme, I’ve also decided to cycle for 20-minutes after work every day from when I return to work following my current time-off, all the way up until Christmas. To sure-up this decision, I spent last night making dozens of 20-minute playlists in iTunes for cycling to. (Well, most of them end up being 22 minutes). The main theme of each playlist is pick about 5 songs from about 5 different artists within one subgenre.

So for example: 1 Saxon song, 1 Diamond Head song, 1 Iron Maiden song, 1 Angel Witch Song, 1 Motorhead song…. and then call that playlist “NWOBHM 1.”

In this spirit I have made: 9 Classic Rock Lists, 9 Thrash Metal lists, 9 NWOBHM/Early Metal lists, 9 Thrash Metal lists, 8 Glam Metal lists, 6 Power Metal lists, 5 Metalcore lists, 4 Groove Metal lists, 2 NYHC lists, 2 Indie Lists, 2 Nu Metal lists, 1 Stoner Rock list, and 1 Melodeath list.

Oh yeah, and two lists of Thrash bands’ ‘90s hits…like “Symphony Of Destruction,’ ‘Only,’ ‘Enter Sandman’ etc.

I only chose jaunty up-tempo songs; no ballads, no interludes, no intros, no doomy songs, nothing proggy… just stuff that would make me want to continue cycling. Its basically that I always get a shower when I get home from work, but I am always hesitant to do any exercise once I’ve had a shower because it’s a waste of water and therefore money, and so I’ve decided that I could squeeze in a small bit of exercise after each work day so its not too tiring (and get rewarded by hearing 5 or so classic songs) but since I’ll still work up a sweat it would be advisable before my usual post-work shower. Hopefully it makes me squeeze in exercise all the time, rather than doing it properly when I’m in the mood, but more often ending up doing nothing when it can’t be done right… as they say: “Don’t let Perfect be the enemy of Good.”

Anyway, enough health propaganda, on to the main article:

Since my recent birthday, I’ve been describing how I’ve been reading Martin Popoff’s Top 500 Metal Albums book, and this has not changed. I’ve been happily reading away at this yesterday too, now up to around number-300. It’s a damn good book and I highly recommend it. Even if there are a few small mistakes (eg. he said that Michael Kiske was the singer on Helloween’s Walls Of Jerhico, but it was really Kai Hansen) and sometimes his sentences lack all grammatical logic or you can tell he forgot to type words here and there, it is still a very entertaining and well put-together product.

I’ve also spent the last few days listening to the following albums:

I decided to put this record on again because I recently read an article online which was about biggest disappointments/flops. Untouchables was in it. I thought to myself…”surely not?” I remembered at the time, everyone loved it. They filmed the successful comeback show with loads of songs from it. People on Metal podcasts I listened to remembered it fondly. I listened to it again last night, and yeah, there’s a wee bit of filler (like EVERY Korn record) but it is in no way a weak album for them, plus lead single and album opener “Here To Stay” is just an absolute smasher! Oh yeah, and I looked it up on Wikipedia this morning and that also suggests it is one of the band’s most popular albums. What about the verse to “Embrace” ? …or the chorus to “Wake Up Hate” ?

Disappointment? Pfft…

This album is a weird one for me; I listen to tracks from it almost daily on shuffle, but I have this weird “I don’t listen to this album enough” feeling all the time because I don’t sit down and listen to it in its entirety often enough. Well, I tried to put that right, and its one of my favourite Motorhead records when you add up all the songs I like (although I just usually don’t listen to them together… something it shares in common with Faith No More’s Angel Dust as a matter of fact). Some people called this one a disappointment, or dislike the production. Not me, I love it. Love it all. So many great tracks. Great atmosphere. Its charming. “(Don’t Let ‘Em) Grind Ya Down” is especially fun. Heck it all is; no filler!

I listened to this yesterday whilst weightlifting because I have elderly neighbors in my temporary accommodation and I didn’t want them to have to hear Hatebreed, which is what I was really in the mood for at the time, but I’m a considerate neighbor when all is said and done.

I remember I bought this for super-cheap (around a penny I seem to recall, or maybe one pound at an absolute maximum!) just to have something to talk about with a coworker in my last job, who had an Alkaline Trio tattoo. I’m not really keen on it. I always liked their single “Private Eye” but unfortunately its about the only song on this album that is memorable. Its all competent but its just a bit bland and forgettable. Oh well, a Penny for a few conversations and “Private Eye” …not too much of a waste. Its not like I’ll have to quit doing fucked-up shit.

I’ve mentioned before about how I got this in 2010 and never felt like I’d listened to it enough. I still feel that way. Even with a recent attempt at a revival of it by adding it to my phone on work trips and during my Dutch holiday. To its credit, there are some great songs on the record, like the Title Track, “The Alchemist” and “Talisman.” I just somehow never feel like I give it enough attention though. I’ll keep trying, because it is good, its just… demanding.

This was a birthday gift. It’s the modern Helloween line-up trying to do their version of the Keepers’ albums. BOTH Keepers! It’s a double album, each with a 10 minute epic, a few fast thrashers, a ballad each, and a fun off-the wall song.

Its kind of exhausting. I can tell there’s good stuff on it, because I like Deris-era Helloween a lot anyway. But, its just a huge amount to take in at once. Without the mental division of individual albums the way the original Keepers Part 1 & 2 had. You feel overworked listening to it.

Some people are down on sequel albums, especially those late in a career. I like Operation Mindcrime 2 and Thick As A Brick 2 though… so I’ll give this one a chance as well. It just might take a long time to absorb.


I went for a run the other day, and the soundtrack to this sweaty affair was the suitably sweaty Manowar albums I got for my birthday, all together (Not just the one pictured, but Triumph Of Steel and Fighting The World too) on shuffle. These albums are really growing on me. Sure the drum solos in “Achilles” are pace-killers and that spoken word track is too long, but this is a seriously fun band with some seriously great Metal songs to offer. All of their fast songs are almost instant-favourites of mine, catapulted into Best Of playlists already. This is a good boxset and these albums are showing some real promise to join the best of Helloween and Gamma Ray at the top of my Power Metal pile… almost eclipsing Stratovarius already!

Absolute masterpiece. I’ve spent enough time talking about it. I think its one of the best records ever made, by anyone. I just need to listen to it regularly because I don’t want it to slip out of listening. (Once I let “Crack The Skye” go, it didn’t come back the same).

Another birthday gift. Very fun, pleasant, upbeat and happy record. Perfect listening for this sunshine, and for this good-mood inspired by the exercise and healthy-eating zone I’m in. Also nice and brief, lightweight and succinct. Easily digestible, quick and cheerful stuff for instant gratification and no-brains smiles being put on my face.

I’ve tried once more last night, despite feeling like it wasn’t very good and even with new attention, I just don’t really like this album much at all. I really like their debut, don’t get me wrong, its not just thoughtless Poison-bashing here, I just don’t like this Posion album. This one is just a bit empty. There’s nothing in the style I want from them, and there’s no catchy perfect fun in an alternative style to the one I want either. Its just very bland and unexciting. Nothing “grabs” me.

Halfway between the first and the third. Not just as memorable as their debut, or as forgettable as their third album, this has stuff going for it, but isn’t “wow, this album is great!” either. An enjoyable listen, that will eventually be boiled down to just the best few tracks and mostly ignored otherwise. I like “Back On The Rocking Horse,” “Bad To Be Good,” and “Look But You Can’t Touch” as well as the Kiss-esque hit single “Nuthin But A Good Time” of course.

I used to listen to this all the time last year. It got pushed out by new purchases. I still tend to listen to the post-Ralph albums a lot, but the first three of their albums have done a runner from my limited-storage-space phone long ago, which is a shame really, they deserve more attention. I’m pushing them back in now though. How can you argue with “Money” on a sunny day?

I’ve been listening to this constantly since its release, and so this listen here is just another go-round, rather than any attempt to appreciate an under-appreciated hidden gem. I’ve been constantly listening to it all year because its really good! …Even their absolutely shoddy live gig this time last year didn’t stop this being a good record in my eyes.

I enjoyed listening to it out in the sun today whilst chopping down (or rather trimming to acceptable tidiness, its not like I actually felled them with an axe) the trees surrounding my current accommodation, in the glorious sunshine. The title track and “Fall From Grace” are brilliant cheerful songs to hack trees by! (Although maybe I should’ve listened to Rush, now that I think about it… that’d be good, ey? I wonder if the neighbors would’ve got the joke?).

It took a long time to trim those trees. This was the second album I put on, because its not too-heavy for neighbors. I love this album, any excuse to listen to it is fine by me… even if my thumbs are covered in blisters afterwards! Good album. “Sleeping By Myself Tonight” is superb.

Man, I just never listen to this. I’ve owned it at least a decade, and I think I’ve listened to it fewer than twenty times in all that time (shame it wasn’t Somewhere In Time so I could use yet another “time” in that sentence), with about ten of those listens being made in the same month I bought it.

I love the title track (man, title tracks are usually great, aren’t they?) and “Be Quick Or Be Dead,” which I will always love for its Carmaggeddon 2 memories! (It was in that game’s soundtrack beside “The Trooper” and “Man On The Edge.”) Other than those two tracks however, I almost don’t even recognize over half of the record. I wasn’t even all that fond of it when I listened to it yesterday again either. I must try yet again tomorrow! Maybe it’s a grower, and I’ve never put enough time into it?

This album is fantastic. Its taken me years to think that though. A bit of backstory: I bought Cowboys’ and Vulgar’ on the same day on a Dublin holiday when I was about 12 or 13. I loved Vulgar instantly and forever. The high screams and weird production (and infuriating lack of snare drums on “Primal Concrete Sledge”) on Cowboys however, at the time made me think of it as being bad and cheesy and out-dated and un-Pantera, and for about two years afterwards I only liked the title track. (Title Tracks again, see?). Over the years I’ve liked more and more of it, and getting into thrash unlocked more of its charm, getting into Maiden unlocked yet more. Getting into Priest unlocked the final missing piece. Now I love every second of it… it just took me a while. A kid who mostly listens to Powerman 5000 and Limp Bizkit doesn’t have the palate suitable for “Heresy” or “Psycho Holiday” just yet. Well, it was worth the wait!

Another “I am listening to this all the time anyway” album. I’m surprised how much I’ve come to really enjoy this record. It’s also “unlocked” the band’s first two albums for me, and I can appreciate them as real music now, instead of just a clown-parade of druggy chancers and womanizers writing 80% filler and getting unnaturally lucky with a few hits, like I used to view them. Moving on…

Yet another “I am listening to this all the time anyway” album, like the above. This is my definite album of the summer. It will likely be my album of the year at this rate. Every listen and it gets better, just like Stalingrad did. I’ll be watching the free Blu Ray a lot over the rest of the year too. Good value. I’ve been avoiding new albums recently because I can get boxsets of albums for the same price as individual new albums, and about 5 cheap old albums for the price of one new album, so it just seems wasteful to buy new albums…. This one however was unarguable value for money considering how much enjoyment and use I got out of it!

When I first got the boxset of Dokken’s first five albums (well, four and a live album), I sort of overlooked this one a lot. I’m slowly rectifying that oversight. “Paris Is Burning” and “Live To Rock (Rock To Live)” are excellent jaunty Judas Priest-style Speed Metal tracks (although with a softer production, admittedly).

This still isn’t my favourite Dokken album, or one I’d share with any friends who don’t listen to this sort of thing to convert them, but it’s a nice enough album and worth my time.

This is a classic, everyone loves it. Its not hard to see why. Phil’s voice is excellent here, Pepper and Kirk’s riffs are really memorable and everyone loves a bit of Bower Power, that Bonham-esque groove he can inject songs with really putting the cherry on top.

Good songs (most of a Down setlist most times, ey?), great performances, faultless production… pretty good record. Its not even monotonous, there’s plenty of variety from the brief stunners like “Lifer” and “Hail To The Leaf” and then the acoustic “Jail,” for variety, yet further diversified by the unique genre-of-one in hit single “Stone The Crow” and then topped-off by the big weighty monolith of an album-closer (and live-favourite) “Bury Me In Smoke.”

Its just all good, and there’s a nice mix so you aren’t bored or wore-down. I just need to remind myself to listen to it as often as I listen to Pantera or C.O.C. I’ve been constantly hammering The Purple EP all year, or at least its highlights, so I’ve probably been getting enough Down overall that I didn’t notice the dip in NOLA plays, but Martin Popoff’s book just reminded me to go back to the reason I liked Down in the first place.

I listen to the title track (how many times with the title tracks?) and “Rock N Roll Rebel” all the time, and I have it on Vinyl mounted on my wall, and I listened to the whole record all the time for about a year after I got it… but I’ve noticed a massive decrease in listens recently. I’ve just put it on again (another Popoff inspired move) and noticed that apart from the aforementioned hits, I’ve forgotten most of this record, and there’ actually a lot more good moments on here than I’ve been giving it credit for recently, certainly since last Christmas I’ve not listened to it in full. Well, now I have once more, and it was entertaining. Not the best Ozzy album, but better than the two-tracks-only footnote that I’ve been treating it as! Also the bonus track “One Up The B Side” is great, despite its cheesy joke title.

I bought a set of the first two V.O.D. albums a while back, around the same time I bought the boxset of Life Of Agony albums (I remember mixing the two bands up because of their triple-word names with “of” in the center, their association with ‘90s American Hardcore, and both having tracks with “River” in the title. This “River” song has a guest appearance from Phil Anselmo, Life Of Agony’s didn’t.

I ended up becoming a real fan of the Life Of Agony material… but upon initial listen I wasn’t keen on V.O.D. much at all. Their albums seemed like an exhausting barrage of samey, brash, rough-around-the-edges violence. To be fair, that’s still true, but its more of a compliment than an insult. This album is full of absolutely brilliant tracks. Each one, in isolation, is a blow-away-the-cobwebs breath of fresh air… intense, threatening and very very lively. Their singer reminds me of Chimaira’s Mark Hunter a little… but a less melodic, more screamy version.

Highlights for me are “Jada Bloom,” “Twelve Steps To Nothing” and “Landslide.” I’m warming to this album, its just a bit exhausting all at once… they’re still a band I can only take in small doses.

Another Popoff inspiration. I bought this record around this time last year, wasn’t amazingly sold on it really, and kind of just listened to it in small doses here and there from then on, with decreasing frequency until its now mostly ignored altogether. I stuck it on yesterday and was really impressed, there’s a whole heap of stolen Anthrax, Megadeth and Overkill parts and apart from the slow, grungy tempos and Rob’s unusual voice, this is pretty much a nice Thrash album. “Thrust” and “Black Sunshine” are good. The only problem with the album is that the band seem a bit too relaxed, too calm, holding back a bit. V.O.D are too unhinged and aggressive and abrasive, put this is the opposite end of the spectrum… its very chilled out and softened-down. You can tell the songs are good though, it’d be cool to hear them covered by someone with a bit of energy. Perhaps V.O.D. could cover them and split the difference?

This album is associated with sunshine for me. I was listening to it in the wonderful sunshine in the zoo in Rotterdamn, and I listened to it today whilst going out on a long walk in the countryside while trying to put more of this healthy stuff into action and make the most of this last week away before its back to early 4am work mornings and grey city sludge. The whole album is so bright and clean and uplifting that really sunshine is the only environment in which you could take it seriously… you already need a big smile on your face before it even starts.

What about the record itself? I used to think it was pretty samey, pretty bland, and lacking in the x-factor of its more famous cousin Inhuman Rampage. Listening to it carefully for the first time today, I guess that’s only half true… there’s a little more to things here than I initially credited it with, and while it can wear a little thin all at once its pretty much an honest record with good intentions. Not soon to become a favourite, but worth a few more listens at least.

Ok. That’s enough for one article. I’ve dropped my thoughts on most of the albums I’ve been listening to in the last three days; I’ll leave discussions of Death, Carcass, Cro-Mags and Deicide to another time as I’m pretty sure most people will’ve stopped reading by now anyway.

Oh well, it stopped me from splashing out on Spiderman comic collections, Early ‘80s American Hardcore bands’ debut albums, Musician’s biographies (Five Finger Death Punch’s drummer has a book out!?) and all the live concert DVDs going at the minute (or indeed b-sides and bonus tracks to albums I have but haven’t got all the bonus material from.)

‘Til we meet again…

Hello and welcome once again my friends to the show that never ends this fourth round of my “Get (Into) What You Paid For” challenge, in which I attempt to not buy anything for a month, and reevaluate my opinion of records I bought previously but never really became a true fan of, taking this purchase-abstinence as a chance to finally “get my money’s worth” out’ve the more undervalued albums in my collection. That; and present thoughts and musings that don’t fit elsewhere on the blog.

Its now eight days into the challenge and yup…didn’t cave last night and buy anything. I don’t think I’m all that tempted at the minute. Maybe I am though. Who knows, maybe I’d sneak in during the middle of the night and buy Girls Girls Girls on eBay? I listened to Accept’s Balls To The Wall yesterday, that made me pretty tempted to pick up Restless & Wild actually. Ok…so maybe there are temptations. Get off my back!

A lot of my blog viewing this week has featured Savatage…maybe I’ll just quickly get the albums of theirs I’m missing?

No. Stay strong!… Ok. So. You’ll be glad to read (unless you’re an Amazon employee) that I didn’t do any of that. I’ve still been listening to that Motely Crue album I mentioned yesterday. Also a lot of Pantera. Boy do I enjoy Pantera. Sometimes you take them for granted and ignore them, and then all of a sudden you are refreshed and hear them again and its all like “Wow…how good are Pantera guys? Seriously!” as if it’s the very first time again. Excellent, timeless, brilliant band.

In non-music realms, I’ve been reading Batman Cacophony, a title (written by Kevin Smith) that I picked up and read over half a year ago but haven’t blogged about yet, but I’ve kept that in a separate post, in the Amateur Batfan series. Temptations-wise? Maybe I might buy Kevin Smith’s work on Green Arrow or Daredevil? I am curious… but, no, not now. Its still just Batman time for me.

So, what else is new then?

I’ve been reading a lot online today about the best selling Metal albums of all time. I would like to see how Avenged Sevenfold and Slipknot compare to Dokken and Quiet Riot…how Dream Theater did, if Anthrax or Exodus ever went platinum over time… things like that.

A few of the places to check out are: here and here, and also here. Furthermore, there’s here and here and here.

What I found out however is that there are massive, massive, massive differences in opinion/supposed facts/plain old lies about how well certain albums sold. Here are some examples of such disputed sales figures:

AC/DC – Back In Black: 49 x platinum (or 25/40 as reported elsewhere)
Pink Floyd – The Dark Side Of The Moon: 45 x platinum (or 22 as reported elsewhere)
Led Zeppelin – Led Zeppelin IV: 37 x platinum (or 29 as reported elsewhere)
Nirvana – Nevermind: 30 x platinum (or 26 as reported elsewhere)
Bon Jovi – Slippery When Wet: 28 x platinum (or 12 as reported elsewhere)
Guns N’ Roses – Appetite For Destruction: 28 x platinum (or 18/21/30 as reported elsewhere)
Linkin Park – Hybrid Theory: 24 x platinum (or 10 as reported elsewhere)
Metallica – Metallica: 19 x platinum (or 16/30 as reported elsewhere)
Pink Floyd – The Wall: 17 x platinum (or 30 as reported elsewhere)

How can there be such discrepancies? Some of these are nearly double the amount! That’s not something you can mistake in your bank account, or shipping company traffic.

Here are other some surprises however:

Kid Rock – Devil Without A Cause: 11 x platinum
Limp Bizkit – Significant Other: 7 x platinum
Limp Bizkit – Chocolate Starfish and the Hotdog Flavored Water: 6 x platinum
Quiet Riot – Metal Health: 6 x platinum
Guns N’ Roses – Greatest Hits: 5 x platinum
Guns N’ Roses – GN’R Lies: 5 x platinum
Alice in Chains – Dirt: 4 x platinum
Black Sabbath – Paranoid: 4 x platinum
Nine Inch Nails – The Downward Spiral: 4 x platinum
Linkin Park – Meteora: 4 x platinum
Disturbed – The Sickness: 4 x platinum
Godsmack – Godsmack: 4 x platinum
Metallica – Kill ‘Em All: 3 x platinum
System of a Down – Toxicity: 3 x platinum
Queensryche – Empire: 3 x platinum
Tool – Aenima 3 x platinum
Rage Against the Machine – Rage Against the Machine: 3 x platinum
Rage Against the Machine – Evil Empire: 3 x platinum
Cinderella – Night Songs: 3 x platinum
Cinderella – Long Cold Winter: 3 x platinum
Papa Roach – Infest: 3 x platinum
P.O.D. – Satellite: 3 x platinum
Audioslave – Audioslave 3 x platinum
Ozzy Osbourne – Diary of a Madman: 3 x platinum
Ozzy Osbourne – Bark at the Moon: 3 x platinum

P.O.D, Cinadrella, Papa Roach and Disturbed stand out to me as odd. These guys all sold more than Slipknot? My perspective is way off. They all sold equal to System Of A Down…really? Also, I never, ever thought Godsmack would be that successful… You just do not hear of those guys over here in the UK (Godsmack’s record here is MORE Successful than Black Sabbath, RATM and Ozzy Osbourne? Really?).

Tool sold so many despite being so proggy and weird? Good on them!

RATM sold so few relative to this list despite the enormous crossover appeal?

What’s with the large gap between Metallica albums? If you like Metallica enough to buy Ride The Lightning, why not buy Kill ‘Em All too?

Significant Other sold more than Chocolate Starfish? – It really didn’t feel that way at the time.

Audioslave?

Queensryche did that well? Why were they so unheard of two years ago?

An unwanted, cover-song-filled GNR compilation so, so late in their career outsold Toxicity and Meteora? They seemed sooooo famous at the time to me, while that compilation seems so throw-away.

But anyway, enough about sales.

DT – A

Here’s something to reevaluate. Dream Theater’s 1994 album, Awake. It’s their third album, it’s the third of theirs that I heard if memory serves. I heard Metropolis’ and didn’t like it (this has since changed), then I heard Images & Words and liked that, then I bought a boxset and listened to the other albums in that; which included Awake, Falling Into Infinity and Train Of Thought.

The album opens up with drums on their own, and kind of reminds me of Jethro Tull’s ‘No Lullabye’ in a very vague way. Opener “6.00” comes in and samples say “Six O Clock On A Christmas Morning” in a way that is sort of cool because they made it rhythmic and part of the song like Ministry might do, but also slightly annoying. Sometimes this part is offputting and sometimes I love it, depending on my mood. They pulled the whole samples and randomness thing off way better on the previous album during “Take The Time.”

I like the keys, this actually feels like there is a lot of 70s Prog in it. The drums are nice and flashy and awkward. Its kind of, with the exception of the pre-chorus though, its kind of cooler to appreciate than to actually enjoy. You sit with your minds eye, casting it over the different things going on, focusing for a second on each, like watching Slipknot on stage with your real eyes, and that process is fun. The song isn’t as good on the ears as that process is on the brain however.

I like it during the middle during the “Inside coming outside” bit where it goes a bit Misplaced Childhood. After this point the song is pretty bad-ass actually. The solo and the parts underneath are all excellent.

Much like Theater Of Pain I kind of think this album-opener is a bad choice. Its doesn’t set up a good first impression. I think you have to know you like the song before you hear it to trust it, otherwise its just gimmicky and overly bouncy without being memorable. Its not. But it seems that way until the half-way point if you are unfamiliar. It should be buried later in the album, where it would be the exact same song, but better, because you’re already warmed up. Do you follow?

Next up comes “Caught In A Web.” I didn’t know that at the time, because as a rule I think I hate “Caught In A Web.” I hear some Dream Theater song though… The first minute…awesome. (Well; awesome except the synth… a weird seering synth over the top that feels like its mocking me. I had problems with Camel’s fifth album in the past, when the toplines mocked me even when the bottom was cool. The bottom of this song during the first minute or two is awesome, but boy-o-boy do I dislike that top-part.)

Anyway, the first minute is more or less great. Nice, the same excellent sound from their previous record Images & Words, but maybe a little tiny bit slower and with a tiny bit more Pantera creeping into things. Then a really ugly, ugly, sheen-y chorus which just doesn’t fit. Oh, I guess its “Caught In A Web.” Damn, I don’t like it anymore…I think?

It then bounces into a cool Alternative Metal/Groove Metal riff that really reminds me of Pantera and Pissing Razors a lot. Then there’s bits when they prog out on that riff and it sounds like Death and Opeth because of the long winding, ever-shifting guitar lines aspects. The whole mid section is fabulous. The drum build-up is cool, the Eastern-tinged keys are cool, the guitars are rhythmic and interesting.

I often think I dislike this song, but this song is fabulous, its just got the wrong chorus for my tastes. I’d love to edit the chorus out of it, and then it would be one of my favourite Dream Theater tracks.

Next up comes “Innocence Faded,” which opens like some sort of Tennis Match montage music. Its clean and commercial and not unpleasant. It then goes down into a quiet, diamondy sort of sound like Donkey Kong Country levels in an Ice Cave. The next bit is cool, kind of Genesis-reminiscent. The chorus is a bit “nothing” …a sort of swing-and-a-miss, but there are many other cool parts. LaBrie is awesome around the 2.05 mark. The drums are nice and flashy between there and the chorus too. Very nice. After that there’s some very 80s Rush sounds. Rush albums later than Moving Pictures. I like it. Its not very Metal in any way, but in and of itself, its nice. It kind of reminds me of Van Halen’s “Jump” and Genesis’ “Turn It On Again” combined in some sort of The Fly situation.

The instrumental “Erotomania” is next. A lot of Van Der Graaf and King Crimson influence here. It opens sounding like a warning siren on a train track. Its quite nice to sit and concentrate on, but not really background music. Queensryche and Tool, and even Mastodon can make Prog that you can not even notice is all that complex if you don’t pay attention. This is more like The Mars Volta in that…no one’s mistaking that for simplistic. It gets really cool from 2 minute mark onwards, all these parts are way cooler than the start part. Its interesting the mix of 70s Prog, with 80s sounds and then also even a bit that sounds like its trying to be Zeppelin’s “The Rain Song” hidden in there in the background. Its also cool when it goes Neoclassical a minute later. This is the sort of thing you listen to a hundred times and never truly hear the same thing twice. I think two fans can hear it and their brains will tell them two completely different things depending on how closely each guy is paying attention.

The brief Metal bit towards the end, but before the repetition of the bits from the start, is cool. Also, the actual end-end really, really reminds me of both “The Trees” by Rush, and the bit in “2112” by Rush where it transitions from the heavy bit to the soft bit where the character discovers the guitar.

The lengthy “Voices” follows up. It is thunderous and reminds me quite a lot of “Suite Sister Mary” by Queensryche during the opening, but its a lot more technical and multi-faceted. It builds up quite slowly over almost the first three minutes, there’s sort of a “Don’t Leave Me Now” by Pink Floyd vibe to that build.

The those same bright ugly keys from the “Caught In A Web” chorus come in. The Metal bit which follows is really rather neat. I hear bits that would influence Protest The Hero in there. The ugly chorus is ugly to me. There’s a touch of the “Caught In A Web” problem, where this one part is causing a false impression of a good song and lowering my overall impression of it accidentally. Even though the rest of it is deadly, like the following part with double-kicks. I like the talk-boxy solo a little while afterwards. That whole section is excellent. The only problem I have is that this song really feels like an album-closer. But its track 5 of 11. Well it makes me want to stop listening because the record is obviously finished, only it isn’t, is it?

This album has a problem of being in the wrong order. That’s my diagnosis.

Anyway, next comes the brief, perfect ballad, “The Silent Man.” It is excellent; succinct, tasteful, memorable and interesting. Its just right, not too cheesy. A few more tiny hints of Zeppelin’s “The Rain Song” hidden in the mid-section. Deceptively varied and creative vocals. A neat little guitar lead. All good stuff.

“The Mirror.” Opens up in a huge and obvious Pantera tribute. Parts seems practically lifted whole-sale from “Domination” and “Walk.” Then it speeds up and some Phantom of the Opera chase keys come it, its all very intriguing. Then a fun guitar line that I’m sure inspired Avenged Sevenfold follows, the drums are fast and Metal. Back to Pantera.

I think this is my favourite song from the album. Maybe that’s just because I like Pantera so much? Interestingly though, its all the bits that don’t sound like Pantera which really make it cool though. I think I’ll change my iTunes tracklist of this album so that this and “6.00” switch places. This would be a much better opener.

It seamlessly transitions into “Lie.” That means “Lie” and “Caught In A Web” will have to switch places too, oh well.

“Lie” is really strong. Apparently it was a single. Its catchy enough. I love the Mary/Contrary/Promise/Doubting Thomas bit. That was always the one bit of the record that stuck out in my mind. I’ll have to remember that this song is the one with that in it.

Hey! A bit that sounds like Tool! That riff underneath the bit about leashes is reminiscent of Undertow-era Adam Jones. This is a nice song. Also the groove at 3.30 and the subsequent complex bit with the solo are possibly the most enjoyable Dream Theater moments that I’ve heard which aren’t on Images And Words. Skip to the 5-minute mark and yeah! That’s what I want to hear. This song is top notch! Yes, these two songs would make a much better album opener, get the blood pumped, the enthusiasm up, and then I’m ready to accept “6.00” because I’m in the mood now.

“Lifting Shadows Off A Dream” comes next, all broody, and seems as if its going to be Queensryche’s “I Don’t Believe In Love” for a few seconds, until it reveals its true intentions. Its almost a ballad, its almost a big build up. Its almost Hogarth-era Marillion. Its none of these things, its its’ own tasteful pop song with a lot on small toms and splash cymbals. Its kind of sprawling…its like King Crimson’s “Starless” in structure, but much, much, much, much more clean and bright and commercial. It sounds like a basket ball team in a movie winning its first victory whilst the dad shows up to see his son for the first time because he’s finally learned what’s important in life.

“Scarred” follows that. Also sprawling. Slightly jazzy flavoured but without any actual jazz. Full of mischief. Threateningly full of potential. Which way will it go? – Lots of ways it would seem. Groove parts. Staccato Metal parts (various ones in fact). Clean syrupy pop parts. Numerous time-sig changes. It’s a real “Hey, we can do a lot of stuff and we’re good at our instruments” piece. The clean chorus is a lot less lame than in either “Caught In A Web” or “Voices” though.

Then there’s another kind of chorus which feels like its got a sort of grunge influence. A touch of the “Evenflow”s about it, ey?

Do you know when bands say that their heavier stuff is heavier and their lighter stuff is lighter…this actually is. There’s not much on Images And Words that’s overly syrupy. Anyway… There’s also nothing as heavy as the part between the guitar solo in the 7-8 minute bracket.

Also, why does nothing Dream Theater ever play sound like Yes? I was promise Metallica meets Yes. Whoever promised me that (Classic Rock Presents Prog Magazine) doesn’t listen to much Yes… or Metallica for that matter.

This song could benefit from lots and lots of repeat listens, because there’s tons of cool parts to enjoy, but its lack of purpose or structure make first-impressions a bit confused.

Finally comes depressing album closer “Space Dye Vest” which I already know that I enjoy, but will listen to here anyway. Its moody, its tasteful, its got samples that are mechanical sounding instead of dialogue. Ok, actually it does have diagloue samples too… something Anathema do a lot actually… this reminds me of the whole Anathema rant about “Death is not the opposite of life, death is the opposite of birth, life is eternal.” I guess a woman is not a possession then, sample guy. Anyway, the end of the song is fantastic.

Ok. That was the album.

What do I think? Four awesome songs in “The Mirror,” “Lie,” “The Silent Man” and “Space Dye Vest.” The rest… good bits, but not good songs, or maybe good songs with bits that aren’t to my taste. Except maybe “Erotomania” which is good but just has an intro that makes me think I won’t like it.

Meh… Its worth owning. I think a lot more listens are required before it hits me properly. Or maybe, its just a case of I should listen to half of it a lot and ignore the other half because I could listen to better music instead? Who knows…

Hope that was entertaining. Now, continuing the theme established yesterday, and based on this article’s inclusion of the Prog Metal band Dream Theater… here are some Top 5s from some Progressive Metal bands in my collection:

Coheed & Cambria :
1. Apollo I: The Writing Writer
2. Far
3. No World For Tomorrow
4. Key Entity Extraction I: Domino The Destitute
5. Key Entity Extraction V: Sentry The Defiant

Dream Theater:
1. Take The Time
2. Metropolis Prt 1 The Miracle And The Sleeper
3. Strange Deja Vu
4. Honour Thy Father
5. The Silent Man

The Mars Volta :
1. Cotapaxi
2. Cygnus….Vismund Cygnus
3. Vedamalady
4. Goliath
5. Day Of The Baphomets

Mastodon :
1. Blood And Thunder
2. The Czar
3. This Mortal Soil
4. I Am Ahab
5. Crusher Destroyer

Porcupine Tree :
1. Anesthetize
2. Drawing The Line
3. Normal
4. The Sound Of Musak
5. Deadwing

Protest The Hero :
1. Turn Soonest To The Sea
2. Sex Tapes
3. Skies
4. Mist
5. Dunsel

Queensryche :
1. Revolution Calling
2. Roads To Madness
3. Where Dreams Go To Die
4. Murder?
5. My Global Mind

Rishloo :
1. Downhill
2. Weevil Bride
3. Alchemy Alice
4. Scissorlips
5. El Empe

Riverside :
1. Hyperactive
2. Celebrity Touch
3. Second Life Syndrome
4. Rainbow Box
5. Egotist Hedonist

Savatage :
1. Hall Of The Mountain King
2. Castles Burning
3. Believe
4. Edge Of Thorns
5. Of Rage And War

Tool :
1. 10,000 Days
2. Jambi
3. Eulogy
4. Ticks And Leeches
5. Vicarious

There’s dozens of others in my library, but for one reason or another I don’t feel comfortable choosing a Top 5 for them.

Periphery - Clear EP Review

Periphery – Clear EP Review

Clear is a 2014 EP by the American Progressive Metal band Periphery, released between their second and third full-length albums.

The twenty-nine minute EP features seven individual compositions, each creatively directed by a separate person, each of which contain themes presented within the opening track, ‘Overture.’

If you sit there and pick it apart you can appreciate all the nice progressive touches and experimentation, equally if you like you can just take it all at face value, as another set of top-quality Periphery songs. For only containing seven tracks, there’s quite a bit of variety to be found on Clear; there’s a piano driven intro, there are two instrumentals, some catchy-single sounding material, some heavy Djenty rhythms, some nice effects-laiden guitars and some electronic ambient stuff all in there. That being said, it isn’t a sloppy mish mash of different styles and it isn’t so experimental that it looses listenability, this is a very solid collection of great sounding tracks that all sound like Periphery.

Highlights include the catchy ‘Parade Of Ashes,’ as well as ‘Feed The Ground’ and the instrumental ‘Zero.’

Overall; Clear is a fine addition to any Periphery fan’s collection. I’d also recommend anyone who listens to Protest The Hero, Tesseract, The Safety Fire, Animals As Leaders, Monuments, Circles, Coheed & Cambria and Karnivool give it a shot too. This is a nice introduction to the band, covering sounds found from both their debut and sophomore albums, and with enough variety and personality to really sell what the band are about.

**Oh, and if you found this review by search engine, when you discover it again on Amazon it is me posting it. It hasn’t been copied and pasted off here by a stranger, I post my reviews on Amazon as ‘Gentlegiantprog “Kingcrimsonprog.”’ So please don’t unhelpful-vote it because you thought it was stolen from me.**

I’ve Just Been To See Tesseract and Protest The Hero Live at the Manchester Academy, on Thursday the 6th of February 2014. Fuck me. What. A. Gig.

What a gig, and I almost missed it. All week, I’ve thought that this concert was on on the Friday, so today after Uni I had dinner then got undressed and into my pyjamas (well, I don’t own pyjamas, so, into the normal clothes that I wear if its too cold to sleep without clothes) and got ready to drift away to sleep. At the last minute, for no reason I can discern, I got up to look at the tickets. Not to check the date or anything, just to look at them, covetously. That’s when I noticed that the gig was on tonight, and had to get dressed and head straight out the door and walk to the venue. Luckily doors hadn’t opened yet, but I wasn’t in the que very long.

I got in, walked straight to front row center (well, two human body’s distance to the right of center, to be specific) while others where buying beer or t-shirts, and rooted myself in for the night. I remembered jerk crowds the last few time I was here in this section of the Academy (upstairs, not the biggest part that’s in a separate building, where bands as big as Megadeth get to play), so I expected thugs to try come and uproot me. It never happened. Much like the Queensryche crowd, this was the politest, most honourable crowd anyone could hope for. I was really pleased. A little faith in humanity is restored every time you spend a whole evening in the company of people who don’t act like assholes.

The evening was opened up by the Canadian Djent band, Intervals. I didn’t know much about Intervals (no songs, so that’s pretty little) beforehand, but they really won me over. They were really, really impressive. Their musicianship was incredible for an opening band, they had a pretty professional demenour and good songs. A very good band indeed. The sound didn’t really help them out, but they were so good you could tell through the bad sound that they were seriously talented. They were also kind of the heaviest end of Djent you can be, without using any Death Metal parts. Their singer was pretty charismatic and their drummer was straight up awesome (at one stage he hit a cymbal so hard, he broke a big wedge straight off of it and left it looking like a shark had taken a bite out’ve it). Great band. Go see them if you can.

Next up came The Safety Fire. Who were a British Tech Metal/Prog Metal/Djent band. They were also absolutely excellent. Their sound was a bit lighter, more radio-friendly in parts, and sometimes they actually played little guitar runs that sounded like Protest, or those bits on Periphery’s new album that John Petruci from Dream Theater played.

Their drummer was freaking incredible. He plays like he’s trying to pass an exam. Watching him drum was like playing a videogame without dying on the hardest difficulty. Everything about that band seemed on, but the drummer especially was hot, hot stuff. Plus, no Death Metal. They were more like if a Djent band listened to a lot of At The Drive In.

The sound for them was less muddy but the vocals were mixed very low. Again, luckily, they were clearly brilliant so it didn’t matter.

They were really good. Go see them if you can.

Then Tesseract came on. Tesseract are a fucking incredible live band. I took a punt on them just before Christmas and went to go see them live without knowing them, just because I like Periphery, and the two are often spoken of together (like Metallica and Megadeth). Also because Karnivool were headlining and Karnivool are often spoken of alongside bands like Cog and Rishloo, so I wanted to try them out too. Tesseract stole the show, hands down and unequivocally. That show was absolutely incredible (despite a small section of annoying honking fans making clown-horn noises endlessly) and completely sold me on the band. I got their new album for Christmas as a result and absolutely love it.

Seeing them tonight was even better than the first time. These guys are one of the best live bands going. They are like fucking superstars, from their casually cool world’s-tallest-man guitarist, to their Danny Carey’s-maths-homework drummer, their business-looking bassist and the friendly looking other guitarist. That and the new singer. My goodness. That man can sing. Remember what I said about Jesse Leach? Yeah, well double that!

That guy is the best live singer I have ever seen with my own two eyes (and I’ve seen Maynard James Keenan!). If I could give him some sort of award I would.

In fact, maybe I can.

I hereby award Ashe O’Harra the ‘Kingcrimsonblog Best Live Singer’ award

Done. (And well deserved).

Tesseract are such an incredible live band, they just really draw you in, they are so powerful and captivating, it really makes my enthusiasm for live music grow and both times that I’ve seen them, they have absolutely dominated. Furthermore, they had great quality sound. Thank you Tesseract’s soundman.

As if that wasn’t enough, I got to see Protest The Hero too.

If you’ve ever read this Blog before, you’ll probably know that I love Protest The Hero. Since I first got their debut album as a birthday present, I have listened to and talked about them absolutely constantly. Constantly! – According to my LastFM account, I’ve listened to them 1,361 times since August (at time of writing), and in that short time, they have become the band that I’ve listened to Eighth-most, in the entire last three-and-a-half years!

So, with that sort of context, you should be able to figure out that I was beyond excited for this gig. You may however have also seen my write-up about their Live DVD, which I was actually a little disappointed by. That made me a bit fearful that Protest’ were more of a studio band. I mean, their albums are some of the best ever made by anyone. Kezia, Scurrilous and Voltion especially. I mean, I just hammer those albums constantly!

Even if Protest’ were poor live, at least Tesseact had been headline-worthy.

Protest’ weren’t poor live though. Protest The Hero were one of the best bands I’ve ever seen. I had suuuuuch a good time. The energy level was off the charts. They were so good that they pulled out all my reservations. I’m more like a Japanese audience member than a western one usually, but boy did I make an exception. Ever since Lamb Of God’s concert, I’ve been getting more and more into things. I screamed my lungs out, I jumped about, air-drummed, air-guitared, gestured descriptively for all the lyrics and generally banged and danced away like I was having a damn great time (which of course, I was). I haven’t ever thrown more of myself into a gig since I was about 15. I had more enthusiasm here for that hour than I’ve had all year. I looooooved it.

But enough about me, the band, the band were unbelievable. Absolutely nailing such complex, multifaceted, incredible music like it was easy. Even the new drummer who didn’t write any of this bonkers material was absolutely phenomenal. Every musician was entertaining to watch and great fun to listen to.

The setlist was brilliant. They played more or less all of my absolute favourite songs, including ‘Underbite,’ ‘Mist’ ‘Sextapes’ ‘C’est La Vie’ and ‘Blindfolds Aside.’

The crowd seemed to be going pretty wild for them. Proportionately, it was probably the most sing-along concert I’ve ever seen, with the most knowledgable and into-it fans I’ve ever witnessed. It seemed like an absolute love-fest. Deservedly so. They make brilliant songs, and they’ve backed it up live with a stunning performance. I think the fact that they have some of the best and most interesting lyrics I’ve ever read also helps. People sang along like their lives depended on it, which I think is a big endorsement of the quality of those lyrics.

The sound for them was great too. Thank you Protest The Hero’s soundman too.

Roddy was pretty entertaining, commenting on a security guard being the world’s strongest man (which is not an unreasonable assessment) to the point where the bouncer even cracked a happy smile, joking about Buckfast, referencing WWF, WCW and Holywood Hulk Hogan, inviting a handsome crowd member up on stage to be ‘hunk of the week’ (the band played him a little specially-written hunk-of-the-week theme tune too!) and then joking about getting him into bed. He also started singing football chants about Stephen Gerard to annoy the football fans in the crowd, and fake-dedicated a song to Stephen Gerard. It was pretty amusing stage banter. I guess he takes what he written in ‘Underbite’ seriously.

The band’s performance overall was so, so strong. That DVD must have been an off-night, because what I saw tonight was a frigging phenomenal Live Band. It was such a good, good show.

It was such a good show I even bought a t-shirt afterwards (a thing my wallet has stopped me doing since seeing Queencryche Live – so you can tell how much I was impressed to be moved to t-shirt purchasing)

The gig, as a whole, is one of the absolute best I’ve ever seen. Two great Djent bands supporting Tesseract’s world-class superstar-quality live show and the most fun gig (Protest The Hero) that I’ve been to in the last decade.

If you have any interest in modern Metal, live music, or any of the bands mentioned, try and see them live. This was a fabulous bill and a brilliant night. The only way it could be any better is if Periphery also played, and Protest’ got a slightly longer set and were able to fit in ‘Dunsel’ ‘Skies’ and ‘Turn Soonest To The Sea’ – then it would have been the hypothetical best gig ever. As it stands it was pretty damn close.

“So How You Fucking Feeling Tonight?” – Boy, am I in a good mood!