As promised, please find below a selection of images captured at last weekend’s ‘Kin Hell Fest at Vox/Eiger Studios in Leeds. We weren’t there for every band as you know, but we did catch numerous bands over the Friday and Saturday. They’re not the highest quality but hopefully they capture the awesomeness of this weekend. Just like the fest itself, our approach was very DIY – no fancy lens or expensive kit, just a standard digital camera with a dying battery, and a mobile phone trying to do the job of a professional. Tsk. Anyhoo, enjoy!
@Vox/Eiger Studios, Leeds, 02/05-04/05/2014
The day has finally arrived. ‘Kin Hell Fest 2014 is to start today. The sun in shining, anticipation is full to bursting, and nothing can throw a spanner in the works. But family life so often gets in the way, and then there’s the issue of public transport. In the end, everything conspires for me to only arrive around 4:00pm. As a result, I miss the opening salvo of bands that get this festival properly underway. So apologies to Death Tripper, Ephemeral Foetus, and Pist, all of whom I never made it in time for.
Thankfully, I’m not to miss any of the remaining undercard and, having finally arrived and newly armed with a couple of tins of Guinness, it’s time to watch Necro Deathmort. The London duo play it slightly safe, sticking to the doomier side of their material, rather than the electronic stuff, most of which seems to be washed out by the constant reverberations from their guitars. That said, it is satisfying stuff and ‘Insecto!’ gets a great airing. It feels like the soundtrack to those forever falling dreams/nightmares, such is the sense of helplessness emitted from the vocalists’ yells. From one end of the country to the other, as Fife quartet Iniquitous Savagery bring the weekend’s first dose of slam death metal, chucking in lots of sub-guttural vocals and provoking some silly slam dancing in the pit – no feet being flailed though so it’s all good. Merely lots of invisible oranges and arms being jerked in near-robotic fashion which by the end almost induces a full on pit. As for the band, it’s decent stuff and with time I expect they’ll develop into even more brutal territory.
Haar live up to their name by filling the stage and front floor area with billowing machine smoke before they get going. It feels as though it takes a while before they really get going as well – as a modern proggy black metal band focused on their sound as opposed to showmanship, the occasionally angular riffs don’t feel like a most comfortable fit for this crowd, but eventually it stirs into something more and given a little more time this could well have proven to be a truly enthralling experience. Not such a problem for Evisorax keep it really brief – about 15 minutes, well below their allotted schedule – and it’s at this point that for myself, at least, the spark is lit and the crowd don’t need an invitation to go nuts just as the band’s vocalist paces up and down, jumping into the crowd once or twice, and at one point instructing individuals in the pit ‘kill him! to stir up the raucousness. When new song ‘Locust Breeders’ ends the set, it leaves everyone wanting more, which it seems the band didn’t have tonight. A minor shame, as this band took the day by the scruff of the neck and shook it senseless.
From the fast, to the slow, Oxford quartet Undersmile bring the pace right down with some of the finest doom/drone riffs you’ll likely hear this weekend, led by their two chanteuses whose collective drawls work in tandem to further propel the sense of slow motion sickness. There’s an art to watching this sort of music particularly as it drags on, bar a faster section that comes from nowhere late on, but there’s no way that Undersmile are boring or tiring. It’s an intriguing thirty five minutes.
Technical gremlins are afoot as Ingested prepare, leading to the first delay in the schedule. Fifteen minutes later, they start up and purge on for thirty minutes of ridiculous slam-death action. This time it’s a full on circle pit that gets their slam on and you can tell just how crazy Leeds are for this band.
Pentagram Chile will forever go down as one of those magic moments for this fest in my book. A UK exclusive and if you missed it, you missed out. Anton Reisenegger and crew are bang on form with their ripping old-school death metal. Tomas Lindberg joins them at one point and after slam riffs and drones all day, it’s good to hear a guitar squeal as Anton lets rip through the course of the set with wailing solos sandwiched between some of the finest death metal riffs to have been unleashed from the vault of metal history. 28 years is a long, long time to get your band up and running, but Pentagram are worth the wait and any true metal fan will realise their importance. More so now.
Of course, the band everyone is here to see is Napalm Death, and after a further delay – as all major headliners seem to incur – the biggest name in grind walk on stage and follow the opening ‘Multinational Corporations’ with ‘The Silence is Deafening’, and at that moment I’m as close as I’m willing to get to the stage without being annihilated. This is all top stuff – no barriers, it feels like an old-school show in the sense that bodies are flying everywhere. There was a brief stoppage during ‘Unchallenged Hate’ when Barney noticed someone on the floor and called for first aid. A few minutes later, everything appeared to be OK, and the song appropriately resumed smack in the middle, and all went nuts again. The ‘Utilitarian‘ material gets a good thrashing as ‘Everyday Pox’, ‘The Wolf I Feed’ and ‘Errors in the Signals’ all serve as further incitement to jump around and stage dive. Sadly I can’t stick around much longer than that owing to the last train home. Still, I leave following the end of a brutally urgent ‘Suffer the Children’ and the jog back to the train station as all the more worthwhile having witnessed another show of urgency and rage from the definitive band of the scene’s thirty years of existence.
This means I didn’t catch any of the last three bands either, including Famine, who by the time I’d left had nearly sold out of their limited editions of their new CD, each packaged in a coloured envelope with a different design. I have it on good authority from my long time co-conspirator Mike though that Lock Up were excellent, and that A Storm of Light, a last minute coup for the festival, played out a decent set, although the crowd by now had dropped owing to the early hours.
In the end, it turns out I did get to seeTrudger, and boy am I glad the schedule got moved back a little. Initially I can’t hear the vocals but that’s soon fixed and the lead guy is definitely a gruff growler. But they’ve got some cracking riffs, and the first time they properly drop the doomhammer, wow. They’ve know how to drop it.
Gets Worse are a tight, solid powerviolence band, but really need a bigger crowd or a smaller room to create an atmosphere of any sort, at this time of day at least. Not so much an issue for Wizard’s Beard whose guitarist and vocalist perform almost entirely on the floor in front of the stage. The descriptions of them as redefining heavy aren’t far wrong. The rhythm section – including two bassists – supports the floor duo in laying the thick foundation for their colossal riffage to unfold, the vocalist in particular really getting into it as he paces the floor, rocks out uncontrollably and at one point throttles himself with the mic lead. The last song of their set sees the band yell out loud in unison without the need for a microphone. This is without question – discounting anyone playing a blinder on the Sunday* – one of the sets of the weekend.
It never occurred to me that Keighley heavy metallers Arkham Witch had pulled out before the fest began, so it’s left to Monolithian to follow that up the previous set. The bass/drum duo from Falmouth do this very well, however, making up what they lack in numbers in sheer energy and power, combining sludge and doom riffs with some occasional injections of blackened crust. If you weren’t rocking out to this you obviously weren’t trying hard enough.
Upon re-entering the room it’s not the death metal troupeAcrania setting up, rather Dutch grind two-piece Jesus Cröst. Turns out Acrania pulled out as well, so now the bill is running ahead of schedule. This is my first time seeing Jesus Cröst, and it will be mine, and indeed everyone’s last – as they explain to the crowd, they chose to finish their career as a band in Leeds in tribute to Heresy, who also finished their career in Leeds. And so they thrash away through some of tightest grind going, with stop-start intervals and occasional signals from the drummer to incite a bit more from the crowd, who are getting down to the fast jams coming from the stage. It doesn’t take long for them to complete their set and depart from the stage for good – but wait. Cröst allow themselves an encore, and asking the crowd to give them the biggest circle pit Leeds has ever seen, they get a half decent effort followed by what has to be the first attempt I’ve ever seen of a human pyramid in the middle of a pit. It collapses upon the eighth person climbing atop the foundation, unable to sustain. But truth be told, the anarchy below is a fitting farewell to the duo, who certainly made a few new friends tonight just by being nice. And playing awesome grind. Good luck and adieu.
Whatever issues Grave Miasma had before starting up, seemingly with the cab? I’m no expert. Whatever the case, it eats into the time gained from Acrania’s cancellation so we’re back on schedule by the time they start up. It all seems ultra professional – incense sticks, goat skulls, band members in fake blood – but let’s not mock, these guys are the real deal in old school death metal, shredding riff after riff, in completely fist pumping, chest-beating glory. Pound for pound one of the tightest line-ups this fesyicalThe crowd get right into it, which sadly can’t be said for Deviated Instinct. It’s a relatively sparse crowd for them and there’s no lack of effort on their part, but whatever shenanigans are going on at the front of the pit, you get the feeling not everyone’s paying attention, for which a band so influential deserve better.
There’s still much japing around at the front when Hawk Eyes step up, but they seem to be engaging the crowd more at least, owing to being the most rock friendly act on the bill. They show why they’re one of the best rock acts in the country right now and their singer brings down the mic stand to floor level and moves it around at various points in the song to continue his performance amidst the raucous crowd. Though that act in itself is a prelude to Khuda, who may not be the biggest name on the bill but their name and reputation in these parts meant this was always going to be a special moment, and just as they did in 2011 when they played the original KHF, they set up in the middle of the floor and for one last time for this festival they play an incredible set. Encircled by the crowd, they jam out a fantastic set punctuated by some crunching and occasionally lovely chilled riffs, and tip top drumming, combining in superb fashion at the end with possibly the most beautiful way to close out a set of such intimate surroundings.
Time continues to tick away, however, and in the end Anaal Nathrakh are too long setting up for myself to feel it worth sticking around to judge them purely one one song, and so it was away for my train home I would go. And thus, missing out on Birdflesh, The Day Man Lost, and the not-so-secret band Sloth Hammer. That is where our coverage of proceedings here ends.
Hang on, you ask. Where is Sunday’s coverage? Well, my time is so often divided up between my family, work, running, and indeed this festival at this time of year. Last year it worked fine as my co-conspirator Mike could cover the Saturday last year while I did the Friday and Sunday. This time around, Mike is far more occupied as bassist/vocalist for Wort, bassist for Pist, and a promoter in his own right with Manchester-based CLDH. He was back on the road with Pist on the Saturday, and he always wrote for us voluntarily, and I would never hold him down to ensure a full report here. So that left me, myself and I, and owing to a clash of dates and occasions I could never commit fully to this year’s fest. Hence I appealed for anyone attending if they’d like to voluntarily contribute with a review of Sunday’s coverage that I’d be most grateful for. That has not been forthcoming yet, and so we can only leave it there. I hate for this review to be incomplete, but there are times when my family come above all else and Sunday was one of those days. So if anyone out there has anything to add, please do let us know. We may feature it.
Thanks once again to Paul Priest for making us welcome at this festival, and all involved in the organisation of the festival from promoting to playing and trying to make the thing run like clockwork. And cheers to the fans who like me came out in support of this fest. I will always remember the first moshpit human pyramid! I had a blast watching these bands and Mike I’m sure will say the same about playing the fest and checking out some of the bands too. We’ve been proud to support this festival from its origins as a one-dayer, and we are proud to have been there almost all the way to the end. Because sadly, as a follow up post will detail, this really is it, though we can always hope for its spirit to live on in the future should it be reinvented or reanimated in any way.
We will have a full gallery of photos from the fest during our attendance on Friday and Saturday very soon.
Welcome one and all to We Must Obey’s annual preview of this coming weekend’s ‘Kin Hell Fest. As those who’ve previously read our preview before, the drill is as such: we run the gamut of every band playing this festival, summing them up in a few words with images and links to their sites where you can follow them or check out some of their music.
This year, ‘Kin Hell Fest is bigger and better than ever. Being held in the 1400-capacity Vox Warehouse in Leeds, the festival has attracted the biggest names so far since the fest was founded in 2011. We are very proud to be supporting this festival again as we did in 2011 and in 2013, and together we will all make this a festival worth remembering. So without further ado, let’s get down to previewing Friday’s action.
Death Tripper – 14:00-14:25
Cracking young hardcore/d-beat/grind crew who first came to our attention here when they released a split with Nottingham vegan PV chums Meatpacker. A great way to kick off proceedings.
Ephemeral Foetus – 14:40-15:05
This Derby-based lot are a cracking band, mixing d-beat crust/thrash/punk riffs with raging societal intensity and aggression. They recently released a split with fellow Derby crusties Piss on Authority (‘Fallacy’), and if those three tracks are anything to go by, they be as relentless in their performance here as they show ‘Relentless Contempt for Man’.
Pist – 15:20-15:45
Super riff worship featuring a wealth of experience from the Mancunian scene. Pist will step up early on the Friday slinging tracks from their recent released debut ‘Riffology’. Heavy rock ‘n’ roll to raise a glass/plastic cup to.
Necro Deathmort – 16:00-16:30
London based duo Necro Deathmort are certainly one of the most intriguing additions to the line-up, bringing with them electro beats fused with doom vibes and industrial machinations. With a slew of releases behind them, their appearance here will herald a monolithic vibe; expect them to stand out.
Iniquitous Savagery – 16:45-17:15
Scottish brutal death metal merchants who will soon be releasing their debut album, and will arrive here to pummel your brains in with ridiculous riffs and carnivorous screams aplenty.
Haar – 17:30-18:00
In Edinburgh, a ‘haar’ is a dense chilly fog that blows in from the North Sea when the wind is in the east. Cheers Lonely Planet! It’s also home to an excellent progressive black metal band of the same name, producing music as murky and challenging as the conditions out at sea.
Evisorax – 18:15-18:40
Wigan grindcore berzerkers who have the backing of Scott Hull and J Randall of Agoraphobic Nosebleed fame – the former mastered their 2011 album ‘Isle of Dogs’ and the latter released it through his Grindcore Karaoke label. Their shows are known for being highly charged and confrontational, which is just fine with us.
Undersmile – 18:55-19:30
A rich, diverse, and quintessentially heavy doom band from Oxford, coming with the backing of Dylan Carlson (Earth) and Henry Rollins. High praise indeed. Ranging from titantically heavy to marvellously serene.
Ingested – 19:45-20:20
The headliners of the first edition of KHF are back! Expect huge slam pits for this lot who in 2013 stepped up their game with their brilliant LP ‘The Sorreption’.
Pentagram Chile – 20:40-21:20
Pentagram’s story from being one of the forerunners of extreme metal to releasing their debut album 28 years later still seems unreal. Yet Anton Reisenegger managed to pull it off after all that time and delivered the goods for the lost years of never making it happen. They’re about to land in town so prepare to get your heads banging away in appreciation of a band that Reisenegger refused to allow to die.
Napalm Death – 21:40-22:45
Do these guys really need an introduction? Oh go on then. The granddaddies of grindcore, Napalm Death have in their thirty years as a band redefined extreme music, taking down fascists, racists, policitians, warmongers, hypocrites, societal injustice, famine and more with their diatribes. Often imitated, never bettered, it’s truly a coup and a cause to celebrate that they are greeting this festival with their presence. If there’s a band this weekend you must not miss, it has to be Napalm Death.
Local merchants of hardcore/powerviolence/crossover style animosity, they emerged last year with our top-10 rated EP ‘A Hand of Sore Thumbs’ and are another of the highly rated reasons for you to ensure you turn up early on Saturday for the full attack. Shouting along to the chorus of ‘Sold Bowels (Saved Owls)’ should prove to be a weekend highlight, as will jumping in the pit for these.
Lock Up – 23:50-00:50
Closing out the Friday night will be an appearance by deathgrind supergroup Lock Up. Joining Shane Embury, fresh from performing with Napalm Death, will be the dream team of Tomas Lindberg, Nick Barker and Anton Reisenegger (also fresh from his Pentagram slot). This is the ONLY place you will see Lock Up in the UK this year. Make sure you don’t miss it!
+ Pentagram (Chile), Lock-Up and more announced; day splits confirmed!
In what is undoubtedly one of the biggest coups for the festival since its inception in 2011, ‘KHF have confirmed a triple signing of epic proportions! The biggest news is that Birmingham’s legendary and defining grindcore act, Napalm Death, will be headlining the first night of the festival on Friday May 2nd in what will surely be a performance not to be missed! And in a further scoop, the festival has also confirmed the presence of one of the pioneers of extreme metal, Pentagram Chile! Resurging following the release of ‘The Malefice’, their debut album which was twenty-eight years in the making, they will also be taking the stage on the Friday night in what is likely to be a rare, if not a one-off, opportunity to see one of the trailblazers for extreme metal as it was to become.
As if that wasn’t enough, it was confirmed late this past Friday night that the festival had also signed deathgrind supergroup Lock Up to perform alongside those two bands on the Friday night. Furthermore, all three of those bands have been confirmed as UK festival exclusives. What an explosive night of extreme metal that promises to be.
Another three bands have also been announced, including the return of one man tech-death machine Regurgitate Life, blackened crust/d-beat Mancunians Esoteric Youth and rising brutal death metallers Unfathomable Ruination. They join a line up that also includes headliners Anaal Nathrakh, Swedish grind freaks Birdflesh (UK exclusive), US death metallers Malignancy, Wodensthrone, Desecration, Hawk Eyes, Khuda, Deviated Instinct and many, many more.
It’s not all good news – two of the fest’s heavy hitters, Liverpudlian doomers Conan and German pounders Pighead have both had to pull out for various reasons. The festival however, is looking as splendid as ever, with its biggest hitting line-up in history. One more headliner is still to be announced with a further four bands to be announced very soon.
With the festival approaching in 3 1/2 months, the organisers have now confirmed the day splits for this year’s festivities. These are as follows:
Friday (1400-0100 hrs): NAPALM DEATH, Lock Up, Pentagram Chile, band tba, band tba, Ingested, Evisorax, Haar, Iniquitous Savagery, Necro Deathmort, band TBA, Ephemeral Foetus, Death Tripper
Saturday (1230-0100 hrs): ANAAL NATHRAKH, Birdflesh, Hawk Eyes, Khuda, Deviated Instinct, Jesus Crost, band TBA, Acrania, Monolithian, Amulet, Noise Complaint, Gets Worse, Wizard’s Beard, Famine, Esoteric Youth, The Day Man Lost
Sunday (1230-2300 hrs): Headliner TBA; Desecration, Wodensthrone, Malignancy, Crepitation, Holocausto Canibal, Conquest of Steel, Unfathomable Ruination, Basement Torture Killings, Palm Reader, Regurgitate Life, Rot In Hell, Shields
In further news, the line-up for the ‘KHF pre-show is now complete, with an equally awesome line-up comprising of KHF faves of old and further fresh meat serving up the party. Past festival acts The Afternoon Gentlemen, Palehorse and Foetal Juice currently sub-headline an incredible prelude to the main festival, now renamed the ‘Yorkshire Riffer‘, which also includes Bongcauldron, Scordatura, Gods of Hellfire, Ninkharsag, Black Skies Burn, Bludger, Rectal Implosion, No Fucks Given, Sathanel, and Cattle. They’ve just to confirm the headliner for this event, which will surely be a stonker if these latest announcements are anything to go by.
Tickets are still available for both the main festival, taking place on the weekend of Friday May 2nd-Sunday May 4th, and the pre-show, happening the week before on Saturday April 26th. They can be obtained via the official ‘Kin Hell Fest site. And for all the latest announcements, news, updates, and other jollies, head over to the official ‘Kin Hell Fest Facebook page, and also here, via their Twitter feed.
My associates and I began the long and not exactly direct journey to South Korea a month prior to Napalm Death In Seoul, the capital. I have always found traveling to be tedious and agitating, with many an opportunity for something to go horribly wrong, this journey was no different. The beer we drank to get to sleep for the last and longest leg our flights wore off only a couple of hours in the air.
I woke up with a bad head to the terrible noise of a baby screaming and a desperation, to be somewhere other than the two square foot I was confined to for the next 8 hours. The rest of this time consisted of falling asleep in discomfort and sporadically jerking awake 2 inches away from an elderly Korean woman’s face or the trolley running over my foot, both of which can be startling in the first moments of consciousness.
The reason why I tell you this is that you appreciate the time and grit taken to bring you this review. Why not review them in England you say? Because its not the same, also I cant spend a month before hand in England in a hedonistic haze of food, Buddhism, monolithic neon cities and alcoholism.
1 month later, having returned from Japan that same day and with a string of flights home to follow in the morning, grindcore had become a little less appealing. We had been up all night drinking and leaving the relative comfort of our cheap sleazy motel, with a bath, a bed and a free softcore channel was difficult. In spite of this, we got ourselves ready, walked out onto the busy neon streets of Seoul and got a taxi to the venue. We eventually found the place called the “Rolling Hall” hidden in a backstreet by a “7-11” convenience shop across from one of Seoul’s many 4-lane death traps.
Korean cities are generally not aesthetically pleasing. The buildings mainly consist of high-rises, rearing their ugly heads as far as you can crane your neck, with only a few of the newer built buildings being of interest. Neon signs face you everywhere, perpetually advertising the bustling bars and restaurants. While there is always something interesting to look at, this does not put a fragile mind at ease. One other sensory shock is the possibility of walking into a solid wall of choking noxious gas. The haste to build when Korea gained independence from Japan after the war meant that sewer system was built shallow in the ground. The sweltering heat and humidity of the summer means that the smell of rotting shit hangs heavy in the air over drains, waiting to hit you in the back of your throat like a horrid, stinking, lead pipe.
As predicted there were plenty of foreigners at the venue. The first to meet us while we drank outside the shop were a group of loud humongous Americans comparing how metal they were and pretending to be in BLS. We made our way through the crowd to pay around the equivalent of around £30. Despite this blatant extortion, we walked down the stairs into a dark and surprisingly large basement venue.
Curiously, there were large amounts of Koreans present. Although the capital has a little more in the way of alternative culture, what passes as desirable in South Korea seems to be very linear. A superficial orgy of high street brands, male cosmetics and sculpted haircuts. Couples frequently wear the same sickening matching outfits. Every song heard in a street club or bar sounds like a ripped off version of “Riverside Motherfucker”. One of the more prolific male model’s frequenting the cover of billboards would not have to persuade you he was a woman. My friend swears to bludgeon his face to a pulp every time we see his stomach turning dreamy gaze upon us.
After some checking levels for a while, Mitch and Napalm’s sound guy, standing in for Shane (Embury) make themselves visible. The sound that suddenly erupts is an undistinguishable mess, but as Barney flies on stage, all flailing limbs and fists, the local crowd become wild and it’s easy to get in the mood all the same. It can’t be often that a band with Napalm’s repute visit and the crowd are visibly giddy in the good natured violence. The Koreans seize every opportunity to fly into someone or off-stage, the rareness of the occasion leaving no room for reservation, which meant keeping one eye opened for a well built mohawked man that landed on some poor bastards head every couple of minutes.
I’m not sure anything would dampen the spirit for the local crowd but the terrible sound made it hard to tell what was going on at all. The only clarity came with the vocals, which caused the rest of the mix to melt away entirely. Mitch’s attempts to correct this are lost in translation, “Turn the bass down”! he says in a way that you might negate with a deaf man issuing you a parking ticket.
A few songs later, as the sound man was dragged outside and shot, the clarity seemed to be improving vastly. The viscous groove could be made out from the blasting madness giving the much needed distinction between riffs.
What makes Napalm Death great live became strikingly apparent, like a reflection of a flash camera off the top of Shane Emburys head, had he been there. ‘The Wolf I Feed’ from their newest album ‘Utilitarian‘ is a slab of crusted aggression that utilizes simplicity with awesome effect, sitting alongside personal favourites’ from ‘Smear Campaign‘ easily, and proving that the strongest days of the veteran beast that is Napalm death continue.
Barney is true to his good and honest form, telling a Korean manically waving a flag on stage that he was “about people not flags”. The Korean got off stage looking not too dejected, unfamiliar with the stronger English dialects.
The Brummy frontman always seems refreshingly eager to let the audience in on the concepts of the songs, like the corruption of the music industry, politicians, or racism, as is always brought up with the now staple Dead Kennedys cover ‘Nazi Punks Fuck Off’ which is later in the set. It should also be noted that they are one of a few bands that make it so far around the world, and consider their movements ethically; for example touring South Africa avoiding apartheid supporting venues and areas. Barneys predictable rant on religion arrives on cue for ‘Practice what you Preach’. I have always this a little simplistic and off point, but its certainly more relevant than when playing England, every Korean cities skyline is adorned with neon crosses, Christianity’s not struggling here.
Grinding relentlessly onward, the mic is passed across the front row, subject to guesswork and beaming faces for, ‘All is Said and Done’. ‘Suffer the Children’ is the one everyone knows and gets involved to, the chugging monster that leads into some of Napalm’s and less refined work. I cant say the ‘Scum‘ era is my favorite, but there is an appeal in its honest raw sound and the band have obviously decided to hit the crowd with a shovel load of gravel and finish on a primitive hateful note, which the venue is only too grateful for.
Barney sticks around and talks to some of the fans who clamour to get in sight before the band finish packing up; one Korean fellow squeals “I love you”, with an ecstatic smile and no reserve. Before long a large man in a suite ushers us outside and we all disperse, heading to the bars to become helpless victims of Korean drinking culture for another night.
Images courtesy of Popkorn Music – more images from the show can be found here
Without question, this split release between giants of d-beat Converge and giants of grind Napalm Death is one of the most anticipated releases of the year, the world waiting with baited breath while the respective overlords committed their work to a shared vinyl. The hype and the belief is justified. Though frightfully short, each band’s contribution consists of two songs each, amounting to just under eight minutes of blistering sonic violence.
Converge open ‘No Light Escapes’, a fifty-two second track expected to be on forthcoming album ‘All We Love We Leave Behind’, and its Converge at their most visceral and pissed off, before throwing in a guest-laden cover of Entombed’s ‘Wolverine Blues’. The Swedes have influenced many a band that has passed by Kurt Ballou’s production desk of late, not to knock a solid if ultimately unsurprising take on the song.
The ‘Death follow up their expected impressive showing on ‘Utilitarian‘ with the same fervour that continues to drive them 30 years into their career. ‘Will by Mouth’ is just as vital as anything they’ve done in their recent history, possessing a nice old-school punk swerve, a feel that continues on ‘No Impediment to Triumph (Bhopal)’, a diatribe on the Bhopal gas disaster in 1984.
It’s not often that two highly influential bands get together to pay fanservice to their followers, but on this occasion its a collaboration to celebrate and to generally explode to.
Check out the preview below:
In case you haven’t heard, Napalm Death’s latest album ‘Utilitarian’ kicks ass. All kinds of it. Not even that tatty chromakey video for ‘Analysis Paralysis’ could dampen my enthusiasm for it. Now, Birmingham’s finest grinders have put out a vid for what is, in my opinion, one of the best tracks on the album; ‘The Wolf I Feed’.
Giving guitarist Mitch Harris to showcase his vocals talents, he steps up over a pounding beat from Danny Herrera, providing a nice but no less and equally harsh vocal delivery to that of Barney Greenway’s gruff roar, which is present in the chorus of ‘The wolf! The wolf I feed!’ Cue an awesome darkly clean vocal section too and all the ingredients are there for classic post-millennia ND.
The video might cause a slight stir in Germany, if only for the presence of Adolf Hitler’s image in the video amidst other military sights interspersed in the footage. And will Napalm Death care? Probably not. Their political rhetoric is seemingly boundless and unshackled, even after all these years.