H.E.A.T - Tearing Down The Walls

The Swedish pop charts have been very kind to the rest of the world over the years. The most obvious band to mention here are Abba, shortly  followed by Europe, The Hives and more recently Avicii. It’s safe to say the Swedes have a great track-record when it comes to catchy tunes. AOR revivalists H.E.A.T. have a lot to live up to but they definitely don’t disappoint.

Swedish Idol winner, Erik Grönwall, is the current front-man of H.E.A.T. He certainly earns his place by embodying other great front men in rock throughout the album.  In most places Grönwall coan be compared to a young Jon Bon Jovi on tracks such as ‘Inferno’ and title track ‘Tearing Down The Walls’ which also has shades of Skid Row vocalist Sebastian Bach.  Lead single ‘A Shot At Redemption’ sees Grönwall channelling the late Michael Hutchence (from INXS), in a very catchy crowd anthem which should be a favourite at festivals this summer.

It’s easy to compare H.E.A.T. to fellow Swedes Europe in places. The soft-rock synths complement the guitar work nicely with Grondall’s powerful vocal. It is also fair to compare the five-piece to KISS, especially as Grönwall sang one of their songs on Swedish Idol, but also as there is a sense of the band and audience as one unit - much like the KISS army.

I wouldn’t put it past Sweden to ask H.E.A.T. to represent them in Eurovison one year as the ‘token rock band’ of the competition. It is no insult to say they also have a pop-crossover appeal in many areas, much like their countrymen (and women), Abba. ‘Mannequin Show’ definitely echoes Abba’s ‘dark’ period and another side of H.E.A.T. we should see more of.  Although the final tracks don’t have the same oomph as the preceding tracks, this is definitely a solid pop-rock album with roots in the 70s and 80s but still very current. H.E.A.T. definitely have a long career ahead of them on the rock scene and will be played on the digital ‘rock’ stations for years to come.

Words: Neale McGeever

H.E.A.T are playing Newcastle O2 Academy 2 on Saturday 17^th May 2014

Tickets for all four concerts are can be ordered from the official H.E.A.T website - http://www.heatsweden.com/  

EUROPE at Newcastle City Hall - 4th April 2014

Due to budget cut's within the Council they've closed Newcastle City Pool – and that's a real shame – because as the line winds around the corner for tonight's performance I'm sorry for all those people who never got to experience the rich and vibrant history of the baths. City Hall in Newcastle is arguably the longest standing and most historic venue the city provides, with everyone – and I mean everyone – from Queen to Elton John to Motorhead having played on this stage. The diversification of it's performances mean that in about a month's time I expect to see Michael Bolton on the same stage, but we won't get into that right now!

FM provides tonight’s support, a band with as rich and diverse a history as any other, but one who've been perhaps too ignored by mainstream media. I confess myself to having only listened to them once I heard about their inclusion on this bill and with songs like “Closer To Heaven” and “That Girl” you're unlikely to forget their name any-time soon. As someone who was brought up listening to White Lion, Winger and Warrant this is overblown hair metal sleaze guitar at it's best – and I love it!

Europe have been on something of a reassurance since 2009. Following the phenomenal response to their album 'Last Look At Eden' their music has suddenly found itself more accessible and diverse than ever. The unenlightened will only know them as the band responsible for that “Final Countdown” song but everyone else can see that hits like “Carrie”, “Superstitious” and “Prisoners In Paradise” can only be written by a band like Europe.

Joey Tempest wanders out on stage looking like the cat who got the cream, with a very tight outfit that you're not sure gives him room to breathe, but which excites a number of older woman dedicated enough to force their way into the non existent orchestra pit. With photojournalists doing their job on one hand you've got this hilarious juxtaposition – never thought I'd use that word in a review – of two women holding out roses for Tempest in a declaration of affection.

As the band have only an hour to perform – an old fashioned clock at stage right informs us neatly of that fact – there's little time to stand on ceremony. Songs like “Firebox” and “Not Supposed To Sing The Blues” start the evening with a nice exercise in guitar skill from John Norum and the proof that Europe can still write good songs in the 22^nd Century, but it's classics like “Carrie” which get the greatest of responses. “Superstitious” provided an obligatory chance to sample Whitesnake's “Here I Go Again” which provided some excitement for those not expecting it, but the stand out moment has to go to the bands decision to play “Cherokee” - somewhat of a personal favourite of mine – which is the first performance of this track for a few tours.

By the time the band had begun to wind down their set (one which, to be honest, flew by) it was obvious what was to come next. The encore of the night belonged to 'The Final Countdown'; there was an anticipated excitement like no other as keyboardist Mic Michaeli let loose for what is still possibly the greatest keyboard intro in rock and roll history. As the crowds diverged from the venue there was a wonder if the band needed to play that song at all. Europe's amazing performance proved the night had been anything BUT 'The Final Countdown'.

Words: Wayne Madden

RADSTOCK at O2 Academy, Newcastle on 30th March 2014 (Day 2/2)

As we arrive for Radstock action on Day Two it's a somewhat leisurely stroll through the centre of Newcastle. The venue is located perfectly adjacent to both Central Station and Eldon Square Bus Station so there is no excuse for fans to spend their Sunday anywhere else. But the venue is slightly devoid of life and the assembled crowd of ten or so fans present as doors open creates a somewhat inhospitable atmosphere.

Inside the venue, things aren't much better, as we're given the news that Hacktivist have cancelled their performance from someone at the merchandise stand. The band have informed fans of this via Twitter and it's due to a sick band mate. On the subject of merch, stands are rather dull and devoid, with even less merchandise on show than yesterday and the headline act offering extraordinarily little in the way of shirts because, as their official vendor tells me, they're on tour in May and haven't really produced anything new.

Due to a lack of communication from the promoters on the official Twitter and Facebook pages – in that virtually nothing has been said of any consequence – hearsay and rumour have allowed us to believe the event is being held, on the second day, in the larger of the two academy venues, providing a more adequate space to a band of Funeral for a Friend (tonight's headline) calibre. Unfortunately this has turned out to be just that (rumour) and all the action is, once again, taking part in the smaller upstairs arena.

Kicking things off tonight is Cytota who perform a credible set, showing they're a band of merit deserving to be taken seriously, but with sound problems and feedback plaguing their performance alongside a very dismal audience and little to no crowd interaction. The bands can't be blamed, naturally, but the lacklustre attendance – obviously more than satisfied with the performers the night before – have yet to arrive in their numbers, with the bulk of that audience appearing just as Heights ring out their opening chords. Their material could certainly liked to Biohazard and while post hardcore has never been my personal favourite sub genre I will give immense credit to any band who releases a song like 'Eleven Eyes'

The night is getting progressively heavier as Heart of a Coward make an otherwise mediocre evening something to get seriously excited about. These guys are hot, on fire, and worth paying attention too – you can't go wrong with a group of men who look like bouncers come bailiffs and have opened for the likes of Raging Speedhorn. 'Deadweight' and 'Nauseam' both prove that if you're not a fan of this band then there might be something wrong with you. And I don't mind saying that!

Feed The Rhino also produce an excellent set, a band I have been eager to see for a while and glad to have managed the appearance, with a number of audience members arriving late and the atmosphere really beginning to build for tonight's headlines. Of course as Funeral for a Friend take to the stage in order to close tonight's proceedings – and this festival – you'd be forgiven for thinking it was 2003, so dedicated are the band to playing hit after hit from their début album 'Casually Dressed and Deep In Conversation'

It's proof, if proof were needed, that tonight is a bit of fun for FFAF and one for the fans and the casual listeners alike. That being said, it does have to be said that this weekend has been subject to delays, mis management, mistakes and a serious amount of problems tantamount to more than just “teething” problems. 

While I would welcome the event in Newcastle again, especially at the same time of year, I would expect a massive improvement in line with more acts, a better stage, a return to a one day event and some actual Radstock festival bannering!

Words: Wayne Madden

Photo (HOAC): Brian Nicholson

RADSTOCK at O2 Academy, Newcastle on 29th March 2014 (Day 1/2)

When a promoter arranges an event he/she takes great personal risk, albeit financially or otherwise, to organise the best event he/she can for the paying client. When the inaugural Newcastle version of Radstock was  first announced in the last quarter of 2013 it was billed as an event containing 30 bands over three stages embracing a wide and varied musical pallet from Kids In Glass Houses to Bleed From Within.

Acknowledging that for reasons “beyond their control” the event had to be massively reorganised into a two day event featuring just under half of the bands originally scheduled to play – and all on one stage – is actually forgiveable, but calling the event a festival just really can't be. Newcastle audiences are notoriously well known for “knowing what they like and liking what they know” so it's doubtful the promoters would be easily forgiven beyond a single event.

You might feel this Journalist is nitpicking, finding fault where this none before any music has even been heard, but with the Academy 2 venue having a production complete capacity of just 400 it is nowhere near full. As we enter the venue we're not given any Radstock style wristbands/passes and there's no chance to purchase any Radstock Festival specific T Shirts. No banners proudly proclaim we're actually at Radstock Festival and there's not much room to have a wander in the cramped conditions around the merchandise stand.

Perhaps this is all something that was once considered for the event and later scrapped but in my experience it's the small things that make all the difference when it comes to audience satisfaction.

Bentley Park begin the day's proceedings with a short and vibrant set. These boys are from Manchester and their début EP is awaiting it's official release in April – the song Darker Days which begins the set is the sole track of representation on Spotify. I'd recommend you look it up and give it a listen because these guys are really good. During the set the group attempt to get a 'circle pit' moving which – probably due to the absence of security on the floor – is established quite quickly. That being said, the two young men left to throw themselves at each other inside the large pit just end up looking foolish, it appears that isn't the type of audience present.

They're followed shortly thereafter by Verses from Brighton down by the sea – who spoke exclusively with NE:MM shortly after their performance – and have the spirit and enthusiasm needed to make sure they go far. Musically the sound suffers through poor acoustics but the group are having fun and making sure their future tour mates Lost Alone are given a superb welcome from the hungry crowd. Energy – and attendance – are rising at this point as the room becomes much like a well cooked sauna with steam rising from every area.

The energy and enthusiasm of the audience soon becomes clear, as Fearless Vampire Killers emerge on-stage. With vocals that sound like a cross between M Shadows and Mike Patton and musical influences ranging between Queen and the Manic Street Preachers, FVK are clearly the favourites among the assembled here tonight. Virtually every young lady within spitting distance of the stage is screaming at the top of their lungs alongside tracks such as All Hallow's Evil and Palace In Flames. It's hard to know for sure, but you'd be forgiven for thinking a lot of the same fans simply turn and walk out once they've finished their set.

Sandwiched between the two favourites – if the T Shirt's worn in attendance are any indication – Canterbury have a difficult job convincing people that they're melodic rock will win over the majority of fans awaiting the headlines. Their latest album Dark Days was released in January and reached No 84 on the UK album chart, an admirable feat for a young band but indication that almost all of today's performers are simply second stage material at best.

Finally we find Yashin proving their worth with a headline set exemplifying their talent. Opening for Black Veil Brides and Korn has gained them popularity, their set at Download has increased this and tonight they're in fine form among the faithful. Those who've stuck it out have witnessed an admirable 45 minute's from their headline band. Tomorrow we're going to see just how far things can go.

Words: Wayne Madden

Photo (Versus): Brian Nicholson

FALL OUT BOY at Metro Radio Arena, Newcastle - 21st March 2014

The Metro Radio Arena housed nearly every former Myspace kid in the North East last Friday, as fans were transported back to days of good-hearted Emo Pop lyrics and boy band crushes. 

Fall Out Boy performed almost every ‘corker’ from their five album backtrack which easily pleased both old and new followers of the American quartet.

The Pretty Reckless set the scene for the crowd which proved bad-ass front girl Taylor Momsen to be a little more than just ‘Cindy Lou’ from The Grinch.

Gig goers opened their ears to a harder kind of Rock which reflected Momsen’s influences from legendary icons such as Joan Jett and Kurt Cobain in such a male dominated genre.

The set was extended to make up for a missing support act, New Politics, who seemingly had a slight run in with the authorities on the road to Geordie land, ooer.

Yet the crowd seemed to eat up the rebellious sounds and enviably cool personas found in New York City’s grungiest rockers.

The venue went pitch black and the crowd roared as the speakers began to echo the distinct voice of everyone’s favourite frontman, Patrick Stump.

Fall Out Boy cropped up on stage sporting mysterious black balaclavas to match-up with the ‘Save Rock and Roll’ tour theme drawn from their latest genius album.

Everything about the performance carried such a strong sense of Rock music’s revival with Pete Wentz himself exclaiming that this genre was never dead to begin with.

Crowd Pleasers, ‘Sugar We’re Goin’ Down’ and ‘Dance, Dance’, came from ‘Under The Cork Tree’ and sent the crowd into a frenzy as they rewound to teeny bopper years where Kerrang! Music channel was treat as the Holy Grail. 

They continued to surprise as they suddenly appeared on the middle stage to perform a two song acoustic piece including hardcore fan favourites, ‘Chicago Is So Two Years Ago’ and ‘Grand Theft Autumn/Where Is Your Boy’.

Patrick, Pete, Joe and Andy effortlessly proved the reincarnation of Fall Out Boy’s music to a sea of awe-struck and dedicated followers, jumping back from darker times during the band’s two year hiatus.

Recent chart hits ‘My Songs Know What You Did in the Dark (Light 'Em Up)’ and ‘Save Rock and Roll’ uplifted the crowd and welcomed them in to the super group’s reimagined world and image. 

An emotional Fall Out Boy left Newcastle with a real ‘Infinity On High’, making no secret of the fact that they were saved because of Alt fans who remained loyal to their music.

Words: Amber Ahmed

Photo: Mike Massaro

THE BAND FOR DISEASE CONTROL AND PREVENTION - The Band For Disease Control And Prevention

Maria Mackman & Antony Bircham are, they claim in their press release, "solely responsible for the calculated racket" on their splendidly titled band and debut album. The overall sound is a relentless onslaught of thundering drums, spiky punk guitar and yelped vocals. In many ways it harks back to the heady punk days of 1977 but the heart here is completely contemporary. The songs touch on a range of sometimes taboo subjects like mental health, religious hypocrisy,  conflict, despair, truth and self pity.

The albums kicks of with 'Form' that begins with some weird guitar effects that rumble like a thundercrack before Mackman asks us a series of questions and screams "no one knows what I'm really thinking of" while the guitars roar impressively behind her. The songs are, for the most part, short, punchy and sweet and before you know it we are into 'Pert Plastic' with a healthy dose of feedback and a crunching guitar line as Mackman seemingly descends into depression with a spooky, scratchy guitar solo moving things along.

The songs are somewhat similar across the album but this helps to give it coherence and strength. The duo clearly draw influences from a wide spectrum from within the well of punk and elsewhere, you can hear the Sex Pistols, Siouxsie and even a splash of X-Ray Spex (in a good way). This convergence of influences is clearest on 'Self Pity Me' that rides out on a riff that shares it's roots with Led Zeppelin's 'Kashmir' and draws on some Black Sabbath too and there's in a nice borrowed line that I know from somewhere but can't place in "I never want to wait for the storm to pass - I just want to dance in the rain". 

'April of the Fool' initially slows the frantic pace a little but soon has the guitar thrashing away behind  Mackman's chanted scary vocal. The remaining songs thunder along in a high octane way breezing along until we hit the twin peaks of 'Man of God' which is an angry chant of sheer horror with treated vocal and roaring guitars. Too soon we reach the final track and unlike the short and thrilling preceding songs 'Strawberry Day' has a huge epic quality as it rolls across its eight minute duration. It begins with a ghostly synthesiser, stately piano, some scratched guitar and a rumble of drums before the banshee wail of Mackman smashes back in and the layered guitars crank things up to end on a real raucous high point with Mackman screaming "Where Are You Now?" and a  superb blasting riffing coda ending proceedings.

So, it's an impressive debut and a welcome antidote to the anti-septic and anaemic music that seems to surround us today. If you want to hear an album that is stuffed with guts, balls and stomping big riffs then this one is for you.

Words: Greg Johnson 

GIG PREVIEW - FOREIGNER and EUROPE at Newcastle City Hall on 4th April 2014

With worldwide sales of almost 80 million albums Foreigner is one the most successful rock groups of the last four decades.

Tickets for the bands date in Newcastle sold out in record time, and it’s no surprise either, as fans are eager to celebrate the return of Mick Jones – the bands sole remaining founding member – who took a sabbatical for health reasons following the release of 2009’s ‘Can’t Slow Down.’

With their induction into the Rock and Roll Hall of Fame – presided over by none other than Billy Joel – Foreigner have surpassed their equals in terms of status and recognition – hits like ‘Cold As Ice’ and ‘I Want to Know What Love Is’ receiving modern airplay thanks in part to their inclusion in the popular Grand Theft Auto videogame series – proving that good music always lives on.

Providing support on the night are Sweden’s original Scandinavian rocker’s Europe, whose timeless melodies speak for themselves, and who also received a revival of sorts on the touring circuit following 2009’s ‘Last Look at Eden’ – 2013 saw Europe celebrate their 30^th anniversary as a group and this is a rare chance to see the headliners play a supporting role.

Words: Wayne Madden

RADKEY at Cluny, Newcastle - 1st March 2014

I don’t think I can start a gig in this part of the world without commenting on the depressing state of Mother Nature. The wind and the rain give credence to that simple fact. I’ve been dragged away from my cosy fireside to review a performance I’m almost (unfairly) doing a massive disservice to before I’ve even arrived at the venue. Objectivity is needed and that is what you’ll find here tonight.

Support comes from Turbogeist – who I’ve heard of – and Lyger (who I’ve not). The former have a great track named ‘Black Hole’ which gets me into a mood for the band ahead while the latter produce a set which is impressive and yet instantly forgettable, though the tracks ‘Stroke’ and ‘Power Struggle’ are worth checking out.

When I first heard the name Radkey it was in relation to an obscure covering of a Faith No More track. Taking this as somewhat of a sign that the group had done their homework I was impressed at their ability to source such a song as opposed to simply something from the ‘Greatest Hits.’ 

What I didn’t know was that their unique brand of Punky Metal would bring this brotherly trio from Missouri to a cold, wet and dark Newcastle night in Ouseburn. Three teenage brothers – Dee, Isaiah and Solomon – are causing somewhat of a sensation, following the White Stripes and Hanson before them. Their energy and enthuse can only be described as 80s Hardcore, a feeling of positivism and happiness in a sea of Punk, which can be heard on tracks like ‘Pretty Things’ and ‘Red Letter.’

Dee, the vocalist and guitarist, is learning to read and write Japanese, something he tells the audience he hopes can be incorporated into future music. Bassist Isaiah has the distinct look of a young Phil Lynott about him and despite not possessing the Irish accent to accompany that could be certainly more than matching in talents. On drums Solomon proudly sports the kind of arms you’d expect to find on Dave Krusen or Cozy Powell and brings a beat to the cymbals which complement the exciting flavour and energy of their craft.

Acting like they could awaken or even reorganise the most disinterested band of individuals, Radkey have a sense of unity about their music, addressing social and political issues, with the song ‘Cat and Mouse’ almost sounding reminiscent of similar work by the Divine Comedy – if not slightly heavier. It’s also got a very Sex Pistols vibe to it, but not because of the sound, rather because of the effect it has on people. This venue is far too small to hold a band of this nature and the lucky assembled know it.

Having spent the previous night complaining to a friend that there was simply no good music out there to find anymore, I’ll know in future to keep my mouth shut! These three young men will be the future of music and I’m humbled to have gotten the chance to catch them this time around.

Words: Wayne Madden

ASIA - Gravitas

Asia simply don’t get enough credit these days. Their April ‘82 self titled debut sold more copies than any other album released that year – and considering this was the same year in which a little known singer named Madonna made her debut and in which Michael Jackson released ‘Thriller’ – the “gravitas” of that achievement cannot be underplayed.

Fast forward to 2014 and the seminal British rock band, themselves the natural successors to bands such as King Crimson and YES, have released an album which captures their classic sound. The beautiful and haunting ‘Russian Dolls’ is a perfect example of how this album captures the lyricists natural ability to tell their story, while ‘I Would Die For You’ is an upbeat Deep Purple inspired folly through natural rhythm.

The album itself possesses something magical for fans of classic Deep Purple, Whitesnake and even Thunder, with ‘The Closer I Get’ showing the full range of John Wetton’s vocal ability. You can certainly shout to be heard but – like Wetton – the slow and meandering ballad is what provides a real talent.

For the symphonic and the experimental it’s impossible to accuse this band of simply standing on ceremony and taking “new money for old rope”, with a piece like ‘Heaven Help Me’ really reminding me of Queen’s later progressive rock work on the ‘Innuendo’ album. 

The title track involves the instrumental symphonies of elegance you’d expect to hear on Elton John’s ‘Funeral for a Friend (Love Lies Bleeding)’ or from an equal album of such comparable majesty – and if you’re looking for something like that – you needn’t look much further.

Words: Wayne Madden

HEAVEN'S BASEMENT - Q & A Interview

We recently spoke with Chris Rivers of Heaven's Basement ahead of the band's UK tour that takes in Newcastle University on 18th March 2014. 

Are you excited for the upcoming UK tour?

 

We’re so excited for this tour, it’s the biggest headline tour we’ve ever done and its the first time we’ve done a full headline tour across mainland Europe. The last UK tour sold out in July and a few of these dates are sold out now. We’re also excited to be bringing along to great bands in Glamour of the Kill and The Dirty Youth aswell.

 

Do you enjoy playing places like Newcastle on tour?

 

Honestly, Newcastle has always been one of our best places to play. We’ve got so many great memories of shows at places like the Academy from the past few years opening for bands like Papa Roach, Buckcherry etc. I’ve always thought that the more north you go in the UK the audiences become more and more passionate, thats nothing against the south, I guess it’s just they’re just not afraid to show it. 

 

How has your world tour been so for?

 

When you start a band it’s a dream to tour around the world, it’s a little surreal at times, the fact that I’m writing this interview whilst flying over India on the way back from Soundwave festival in Australia with a massive line up that included bands like Green Day, Avenged Sevenfold and Korn still feels crazy for us. We spent around 10/11 months on tour last year around Europe/North America. We’re taking on the whole world with this album to make a start in as many places as possible which we’ll continue with album 2 touring. 

 

Do you enjoy touring?

 

Yes, if you don’t enjoy touring in a band then its not the place for you. It’s either the best place in the world or the worse, luckily for us we all live for it. The hardest thing is missing people at home but as far as being a musician goes it’s the best thing you can wish for. It’s in our blood, every freaks out a bit when we’re not touring these days, I think we’ve forgot how else to live. 

 

Your first album 'Flithy Empire' was a huges success, what can we expect from the next album?

 

To step it up even more. The songs are the most important thing for us, song quality is everything, without that everyelse doesn’t matter. we’re really excited to start album 2 at some point, there’s already some good ideas floating around for it. 

 

What can fans expect from your live shows?

 

Carnage, energy, passion. You’ll never see a Heaven’s Basement show we’re one of us can’t be arsed, if you do slap that person in the face haha

 

Do you ever make any crazy rock star requests?

 

I’d love to be the first band to play in space but lets be honest that’s not going to happen haha! There’s rumours that Muse will do it. 

 

Which bands did you listen to growing up? (for example, which band names did your write on your pencil case of bag at school?)

 

For me personally it was a lot of old school bands like ACDC/Aerosmith/Sabbath but I’m a fan of most genres of music to be honest as a listener and as a drummer mainly rock/punk/metal.

 

Do you think the music press is still important to bands in the current era?

 

Of course, the music industry is an ever changing thing. we’ve always been supportive of any press opportunities that come our way from upcoming webzines/radio stations etc. It’s still one of the best ways for people to learn about new bands..with that in mind, thank you for interviewing us muppets! We’re very great full and now to anyone reading this, get your ass down to our show in newcastle on the welcome home tour haha! 

Asking the questions: Neale McGeever

LIMP BIZKIT at O2 Academy Newcastle - 18th February 2014

Limp Bizkit playing at the Academy is surely one of the biggest coup’s the venue has ever seen. This is a band that would surely put a considerable dint in ticket sales should they play the Arena having sold out Milton Keynes bowl in not so distant history. The fact that tickets were a very reasonable £20 meant that it’s no surprise the gig was sold out and one of, if not the the busiest I’ve ever seen the Academy.

The Kerrang tour is famed for bringing a selection of bands to the masses and having already been warmed up by Nekrogoblicon and Baby Godzilla the crowd exploded when Bizkit hit the stage. Given the hype surrounding the room for a band who for many had formed their adolescent musical taste, hitting the stage to a new song, Ready To Go was intelligent of the band so as to avoid that mid-set lull a new song so often brings about. The fact they didn’t stop for breath before bursting into their biggest commercial hit, Rollin’ meant that what was an enthusiastic crowd was now an exuberant one. Rollin’ is one of the few tracks of respectable origin (Naturally, I say that with a pinch of salt,) to have a recognisable dance routine and the main dancefloor bounced with arms swinging from side to side.

Those of us geeky enough to hunt setlists from rest of the tour before heading to a show were excited to have seen some of the off handed covers Bizkit had broke into earlier in the tour, and we weren’t disappointed with versions of Guns ‘N’ Roses, Wham and a Nirvana medley and in fairness to frontman Durst the Guns and Nirvana covers were not only pretty loyal to their originals, but the covers of Axl and Cobain were pretty decent.

The setlist was heavily weighted towards older tracks which kept the audience happy, it’s largely agreed that Bizkit were at their prominence across their first three albums and whereas I’d seen the band perform ‘greatest hits’ sets at outdoor festivals on several occasions I’d never seen them take to the stage themselves as the headline act and feared they would take to the terrifying ‘artistic merit’ set featuring all of the tracks that lets face it, no-one wants to hear. They didn’t, the set was laced with hits, My Generation, Livin’ It Up and My Way particular highlights before whirling an enormous mosh pit for the suitably titled Break Stuff. I don’t think I’ve seen a bigger proportion of an audience head to the ‘pit’ at an Academy gig than for this tune, and even as a seasoned gig-goer I can confess my exuberance to be involved. It was a chance to blow off steam and remember the good old days of my early teens, and I think given the average age of the audience it was effectively the same for the majority. As the band rolled out to the Mission Impossible theme Take A Look Around those of us who now were quite exhausted not quite teenagers anymore did our best to catch our breath while applauding the band out.

A gig far better than most expected as Limp Bizkit really did their legacy no harm, and allowed us all to feel that little bit younger, even if it was just for the one night, as trust me, I definitely felt my age the following morning.

Words: Ian Mason

Photo: B.J.N.

TOXIC MELONS - Bus Therapy

‘Bus Therapy’ is the latest effort from Newcastle based Toxic Melons, which sinks us into ‘Yellow Submarine’ esque melodies and country inspired metal tunes.

It’s a huge melting pot of psychedelic music at its absolute best which produces Lennon/McCartney sounding tracks like ‘Not In Love’ and ‘Change the World’ and soft strummed ballads like ‘Take Me Back’ – in many respects you could be forgiven for thinking Melons have simply swallowed a ‘Beatles A to Z’ and added their own unique twist to it. That’s not a criticism, because few artists can orchestrate the majesty of the desired sound like it’s found here, and even when you hear something a little different – the Faith No More sounding ‘Disco Balls’ springs to mind – you’ll be almost astonished to discover these efforts are from just a single individual.

While it’s true to say that over 40 musicians from 8 countries (including Slash’s Snakepit Eric Dover) have performed on this phenomenal record, the entire album is written, arranged and produced by Paul Fairbairn – himself something of a musical prodigy for the 21^st Century. 

The songs were all written on bus journeys which Paul took, hoping to give him a deeper understanding of the world in which we lived, inspired by the folk and electronic music he writes. “Toxic Melons” has recently launched a Kick Starter campaign in efforts to get this album a full release – and if there’s any justice in the world – they’ll get exactly what they need!

Words: Wayne Madden

RADSTOCK 2014 - Fearless Vampire Killers interview

Last year’s Radstock was a great success and an even bigger and better line-up is coming to the O2 Academy in Newcastle, on the 30^th of March. 

The 2014 line up includes British Pop-punks Kids In Glass Houses,  Fearless Vampire Killers, Yashin and headliners Funeral For Friend. 

Kier Kemp, lead vocalist from Fearless Vampire Killers (aka FVK) told us he was extremely happy to be included on this year’s line-up:  “I saw the line-up last year and remember complaining that we weren't on it,” said Kier “So it was lovely to be offered the slot this year!”

Fearless Vampire Killers had a great 2013, playing numerous festivals across the world, supporting emo legends Madina Lake on their farewell tour and collaborating with William Control to produce their forthcoming album. Kier tells us the band are excited to be working with one of their heroes “We love Will, he’s always been a great supporter of ours.” Kier says avidly “working and touring with him was an absolute delight!”

Kier also believes 2014 might be FVK’s year, the band are really happy with the new album: “It's going to be really really good. We've written loads of songs and we're picking the creme de la crème! We really think we've started to capture exactly what Fearless Vampire Killers is right now with this one! It's Dark and brooding with some serious melody.”

The Beccles boys also played the Whitby Goth Weekend last November on the same bill as William Control, and have played North east venues many times since. “ I Love it!! It's like my favourite part of the UK. I don't know what it is about you lot up north. Must be something in the water, but you're mental!”

Kier is also eager to check out some bands himself “There’s loads! Our friends in Yashin are always a laugh and I’ve wanted to see Funeral For A Friend again for ages!”

One thing FVK are most recognised for is their on stage appearance and believe Radstock fans should be able to express themselves as much as they want at a gig like this: “Fans should dress however they blooming well like. Be yourself and be proud!”

Fearless Vampire Killers play alongside Funeral for a Friend, Kids In Glass Houses, Yashin, Feed The Rhino, , Heights, Me Vs Hero, Crooks, The Hype Theory, Hey Vanity, Cytota and Bentley Park on the Radstock main stage on March 30^th at Newcastle O2 Academy. 

Words: Neale McGeever

Photo: Paul Harries

SEPULTURA – The Mediator Between Head and Hands Must Be The Heart

With an entry due in the Guinness Book of Records, perhaps, for the longest album name in history – Sepultura’s 13^th studio effort has introduced yet another line-up change into their ranks.

Drummer Eloy Casagrande makes his debut on an album which sees the Brazilian quartet reunited with Ross Robinson, who previously produced ‘Roots’, their last release with former singer and founder Max Cavalera. The results of this partnership are immediately evident in the fresh sound of this craft, with tracks like “Grief” and “Impending Doom” sounding as crushing as anything from ‘Chaos A.D.’

Of course, if a band is only as good as their last album, then this will certainly boost their appeal – what’s best is that the album feels like a Sepultura release, retaining the principles and energy of classic Thrash, while also gaining the modern inspiration from classic literary works.

Veteran fans of the band won’t be surprised to know this album is inspired by the classic 1927 film Metropolis, with guitarist Andreas Kisser having already dived into films and texts for other albums released this Millennium.

But is this an album to be praised or simply an album that reminds us Sepultura are still around and doing the same thing. Robinson himself would be the first to admit that an album like ‘Roots’ was innovative and special because it broke new ground and explored new territories. ‘The Mediator…’ isn’t doing either, but it is pushing the craft of its members, getting the best material from them at this stage in a distinguished career. And you can’t ask for more than that.

Sepultura have been in the unenviable position of having to justify their every move since the departure of Max and the release of ‘Against’ in 1998 – so does this record offer any redemption? Yes, it does, but you shouldn’t buy it for that reason – it’s an accolade of its own merit and standing.

Words: Wayne Madden

SECOND PLACE HERO FEATURE

Last week an unsigned pop-punk band, known as Second Place Hero opened for Madina Lake on their farewell tour. The five-piece met at college and shared a love for pop-punk legends such as Blink 182, The Wonder Years and Four Year Strong . Of course the Newcastle lads were thrilled to open for an act like Madina Lake alongside ‘next big thing’ Fearless Vampire Killers: “It was unbelievable. We all loved them when we were growing up and to be able to play with them was pretty surreal,” confesses frontman Graeme Costello “We're still quite new ourselves, we haven't even been together a year yet. Tonight was our first gig as a five piece.”

The band already have a following and even sold official ‘I slept with Lynch’ t-shirts at the gig (referring to their bassist, Josh Lynch). But as newcomers they took some wise words from the headline act “Nathan Leone was telling us about how they ended up getting sued before because his stage dive went wrong so we'll be making sure we're always careful not to injure someone at one of our gigs because we're skint enough as it is already.” Now Second Place Hero have supported one of the biggest bands of the genre, what next? “If we somehow got the opportunity to open for Blink-182, it would be a huge dream come true.” The unsigned band will be gigging again later in the year including The Cluny in December.

Words: Neale McGeever

SOMETHING - The Head of Steam, Newcastle - 27th September 2013

Last Friday, myself and fellow NE:MM writer, Leo Lumley, paid a visit to the Head of Steam in Newcastle City Centre to see some of the best Lo-Fi music the North East has to offer. The venue itself recently has had a fresh lick of paint and is now kitted out with a new PA and lights, thus is no longer a dark, dungeon-like space but instead a great sounding venue with delightful ambiance. At a measly £3 entry, this was one of the best value gigs I've been to, and that's before we even get started on how incredible the bands were.

Proceedings kicked off with noisy guitar pop duo, Rice Milk. The band create short, catchy pop songs backed with jangly guitar chords and driving drumbeats that allow the light, melodic vocals to shine through perfectly. The performance switched to and fro between tame and energetic which at points had members of the audience subtly headbanging along.

Next to the stage were Apache Viking, an energetic four piece with all the riffs and grooves you could possibly want. The band combines elements of Indie rock, post-punk and funk, reminiscent of the late Dananananaykroyd with an added Lo-Fi flare. In addition to this, angular rhythms, hooky guitar lines and witty charms made the group a pleasure to watch.

Brighton's finest melodic noise pop band, Tyrannosaurus Dead, was next to grace the stage. Using the venue's new PA system to its limits, the band created an intense wall of sound out of distortion, fuzz and crashing cymbals. The music was a pleasant assault on the ears, rendering me near deaf within five minutes of the set with tones ranging from a shoegaze style cacophony to gloomy, downtempo lullabies.

Headlining the event was Newcastle based Noise Folk duo, Something. Usually performing with a third member on guitar/keys, the band played a somewhat warped collection of their songs due to being one man down and also being very, very drunk. The first song saw singer/guitarist Oliver Catt venturing into the audience and at one point ramming his head into my torso before returning to the stage to proclaim how intoxicated he was. The performance was energetic and filled with moments of drunken hilarity along with raw emotional bouts of shouting. For the second to last song, the band invited the audience to come on stage to play with them, with drummer David now standing where the audience once was, I found myself and the majority of the audience hitting drums with sticks on the command of Oliver. The set ended with a climax of feedback and percussion, leaving many questioning what they had just witnessed as they stare at Oliver collapsed next to the drum kit as David packs up around him. Something are definitely one of the best live bands in Newcastle, if you see these guys perform I can assure you that you're in for a treat.

Words: Alex Greenup
Picture: David Wala

FLESHGOD APOCALYPSE - Labyrinth

Fleshgod Apocalypse's third studio effort, Labyrinth, is based upon the myth of the Labyrinth of Knossos (Greek Mythology) and its analogies in modern times. Subject matter aside, this is an incredible album, one which forces us to look at the metaphors it presents – the maze itself, for example, seen as a representation of mankind’s endless search to define itself. Not, sadly, anything to do with David Bowie’s Labyrinth.
We’re presented with the best death metal the Italian group has to offer, but much more besides, as this album truly breaks down the boundaries of Modern Music and introduces elements of classical orchestration and moving piano recital into sweeping majestic guitar work and thunderous rudimentary beating of drum/bass. The songs are linked together, fused into a musical barrage, there’s not much time to catch your breath between the melody of ‘Elegy’  and the guitar driven “war cry” of ‘Under the Black Sails’
If I have one criticism of this album, it’s the monotony, in the sense that guitar and orchestra is kept on equal footing – neither is allowed to outgrow or expand relative to the other –  when such chances would be welcomed as rich explosions of creativity. That being said, this album is far from disappointing, its exhausting melodies and haunting intro’s almost inspire you to rise against and invade a neighboring country!
Symphonic people becoming metal and metal people becoming symphonic is not an easy process, Fleshgod have managed it in this release and credit must be given where due.

Wayne Madden

RIVALS - Brewdog, Newcastle - 22nd August 2013

This was a free gig, sponsored by NARC, but even a free gig can be hard to fill of a Thursday night when the students are away and people are on their holidays. So it was great to see a healthy sized crowd. Brewdog pub, at the bottom of Dean Street provided ideal lubrication.

  

Cauls created varying rock soundscapes, with slightly awkward lack of spacing between songs, maybe they were rushed. I felt we would enjoy the sound more if there were more engagement with the audience. The music was complex and had a depth that I could appreciate although whether this is something I could play in my car on a long journey, I'm not sure.

Die Die Die! from New Zealand, brought the room to life and vocalist Andrew Wilson clearly felt that the little corner of the room was insufficient space for him to express himself. He took many trips out into the audience and entertained them with creative uses of the mic’ stand to play the guitar and climbed on furniture to get a better rock and roll position over the crowd at one point. The music was infectious. Foot-tapping, head-nodding rock-punk.

Rivals frontman Ross Millard 

Rivals have a sound I associate both with The Clash and with Therapy?. A small number of loyal fans claimed the front of the crowded stage area and, as the gig progressed people lined the balcony area clearly enjoying the spectacle and the music. Whilst Rivals are fairly loud and fond of distortion, they have a great ear for a tune. They are definitely a band to look out for.

Words and Photo - Jo Oliver

Jo is the founder of Jowheretogo PR and a regular contributor to NE:MM