In the final instalment about this year’s sadly doomed and cancelled Eurovision, and to give every artist equal antagonism, as the home nation song and the Big 5 avoided scrutiny as the only songs not in the two semi-finals (which you can read about here and here for a more in depth roasting), the 2020 trilogy will end with The Soundshark running through and ranking every Eurovision entry this year, in order from least favorable, to the crème de la crème. Let this serve as a statement on ultimately who I thought should’ve won this year.
In continuation of a fantasy booking scenario, where the 65th edition of the Eurovision Song Contest survived the COVID-19 pandemic, and in the hope of providing some light entertainment in these troubling times, The Soundshark presents the second semi-final of the already pre-planned brackets (while also abiding by an improvised and hybrid set of drinking rules), to fulfil the scenario of a potential grand final. Remember, this is all purely personal opinions and light humour, so nothing is meant to offend. Just think of me as a less funny Graham Norton or Sir Terry Wogan. Or just less funny. With fun in mind, this is how the second semi-final played out, quickly going over the drinking rules again, in case you wish to play along or had forgotten them.
On the 18th March, the world lost one of its landmark calendar moments of unity through music, when for the first time in its 64-year tenure, the Eurovision Song Contest was cancelled, because of the COVID-19 pandemic. Eurovision has now scheduled something in place of the original contest, honouring those who were originally supposed to be participating. But there is still part, well, of myself, that yearns for the original broadcast and format to play out in a fantasy scenario, that admittedly got out of hand. In the means of providing some light entertainment in these troubling times, The Soundshark sat through both semi-finals of the already pre-planned brackets (while also abiding by an improvised and hybrid set of drinking rules) and chose a set of 10 finalists from each, to fulfil the scenario of a potential grand final. This is all purely personal opinions and light humour, so nothing is meant to offend. This is all meant to be in the name of fun, so I always tend to go into this blind, with almost zero prior knowledge of what I’m about to hear. Just think of me as a less funny Graham Norton or Sir Terry Wogan. With fun in mind, here’s how Semi Final 1 played out, first explaining the drinking rules, in case you wish to play along and endure as well.
In popular cultural semiotics, the phrase ‘ the C-word,’ we all widely acknowledge refers to the often belligerent horrors of cancer. A word that strikes fear, dread and distress into the hearts of those directly and indirectly affected. The disease is now so commonplace, it is impossible to go through your lifetime without knowing someone who has been affected by it. Thankfully, due to the wonders of modern medical science, cancer is now no longer a death sentence, and more and more people everyday can say they are a survivor. Musicians especially seem to be having more and more luck winning their respective fights. Iain Gorrie, of Bristol emo brigade Our Nameless Boy, is among those battling back from life-threatening progression of the disease. Diagnosed with testicular cancer in 2015, and starting a lengthy chemotherapy cycle, alongside surgical procedures, Iain finally reached a stage where he felt well enough and strong enough to begin writing new music in earnest, the quartet announcing a new EP in Spring of this year, after several away. Titled ‘Tomorrow I’ll Be Scared Again,’ it plays not only into the ongoing worry of not knowing if you could wake up, but into the personal anxieties and adversities of the wider world we live in too. The single All It Is announced from the EP, serves as an intense aural and visual narrative of Iain’s recovery from his chemotherapy.
His vocals, sounding weary and with a degree of frailty, tell of how his treatment has caused a series of diversions in his life and how unwell it made him feel, whilst urgent, melodic alternate picking lay behind his tale’s opening. Short after we’re treated to a brief tease of drums and guitar in unison, those four snare pounds and fiery strums, lighting the fuse of anticipation towards its chorus, but not before all instruments make an entrance and tighten the pressure up that much more. A pause for breath proceeds what doesn’t come across as quite an explosion, but more an emphatic expulsion of energy, strings and skins colliding together, to add prominence to the show of positivity that Iain can conquer his cancer. With production stripped down to its barest bones, the chorus feels that much more heartfelt and encouraging for those still watching a loved one persevere in their own respective battle. Rapid snare taps keep pace and intensity in a high gear with the melodic picking returning to soundtrack the story, the tribulations of chemotherapy initially being somewhat lonesome, but allowing him to return to be the person he once was. This verse neatly ties into the track’s greatest display of strength; a bridge of unclean, near-screamed vocals backed by the punch of snares, and the occasional slam of chords, the rawness, and unbridled emotion of this moment acting as a switch, the pivotal event in Iain’s fight back and his wellbeing close to normal again. The time-lapse and series of photos past afterwards, synced to the music in the video only add to the gravitas of this bridge, with his hair returning in its duration, and watching a young boy grow up in a matter of seconds, a poignant device for anyone with lasting memories of their friends, or children. Our Nameless Boy have transformed a harrowing situation into a memorable message of strong inner resolve, and optimism in a time where hope can so quickly dwindle. Minimalist, melodic at the right times, and a masterstroke of art in a sonic and screen-based space, this Bristol quartet deserve a hero’s welcome back to the UK music scene.
You can find out how they’re all getting on, on their social media here:
And if you’re ever interested how this site gets on behind the scenes, you can find out by giving a like, a follow, or by subscribing to the site:
And lastly, if you are affected by any of the content you’ve read here, know that you are not alone, and there are many folks out there you can talk to, or can help you, and that cancer can be beaten.
As the world begins to stir, gently putting the gears back into production, and steadily adjusting weary eyes to the bright new horizon of 2019 (I mean, it probably won’t be that different, other than some cases of lingering hangovers, apparent nationwide incense about a vegan sausage roll, and more than likely international condemnation of whatever Donald Trump does next), we at least have a period longer to contemplate how good a year of music 2018 really did provide us with. However the longer it took to mull over how a good year of music it was, the more frustrating it became to whittle down and distil the ten best. It’s very safe to say EVERY album about to be mentioned was in contention for a top ten position. Tantrums happened and tears were nearly shed. An iron resolve and persistence eventually paid off, and in the settling dust, lay the final ten chosen to represent the best of 2018. Just one of them became the victor and declared ‘the undisputed favourite.’ Continue reading
The state of modern indie is certainly rather interesting nowadays. Although there have been past evaluations on when the last great era of modern indie was, ergo, when bands and artists last made an impact on the charts, where the genre stands in 2017, critically has never been better. Does having the adoration of critics and the music press outweigh greater commercial success? Maybe that’s a question to ask the Mercury Prize committee. While that is a debate for another time, the rise of a new wave of incredibly talented singer-songwriters have arguably become the heartbeat of indie, in this undeniably eclectic decade of music. Up-and-coming bands in the indie-rock vein are on their own battlefront, still rightfully rumbling the live music scenes across the world, and their time will come again. After all, it only seems that musical trends become cyclical, especially as this decade has progressed. As it stands right now, troubadours of a myriad of backgrounds and influences are among the most well-respected of artists, just trying to make music their entire lifestyle. And their emotional honesty, dedication and raw potential undeniably resonates with tastemakers, spheres of influence and those with a willing, listening ear, no matter how they choose to express their craft. Marcus Pike, a one-man indie-folk workhorse from the east end of London, citing the powerful vocal capacities of Bon Iver and Jeff Buckley, the melodic melancholia of Radiohead and the sublime minimalism of The xx as his inspirations, is another joining that order and hopefully soon to be more widely doted upon with his exquisite compositions.
Since his small beginnings, he has amassed over 150 live shows on the London circuit and released his debut EP Grand Piano, featuring the phenomenal gut-punch blues of The Flower And The Fox, earlier in February this year. Now with his as-of-yet to be titled sophomore EP lingering on the horizon, and with the mention of experimentation into the electronic realm, we look to his latest release Ark, as a promising glimmer of things to come. Seconds in, after a near microscopic level of acoustic build-up, we are gifted with Marcus’ heart-heavy, but soulful projection, carrying an extraordinary downbeat atmosphere that only thought possible with man-made instruments. Of course, with his acoustic companion in hand, and the deliberately slow pacing, a perfect balance of soothing and sadness is struck, making his recollection of a love lost and being unlucky in love all the more poignant. Both these elements in isolation cast a spell on the listener, the darkened ambience and pure vulnerability of Marcus’ narrative utterly mesmerising to behold, and that half of Ark elapses in such a sensational, yet sorrowful surrender exhibits the very best of what this young man is capable of. The second half is brought to life by a live band, the chill of soft reverb transforming guitar from acoustic to electric, and gentle percussion giving an added weight and movement to the pace already in progress. This new dimension of atmosphere will feel very familiar in post-rock circles, it lurks within the same haunting, moving chords that can trigger pleasure, placidity and pain in every stroke and heightens this dramatic shift as such. A set of female vocals join in unison with Marcus’ as the last refrain grants the duo freedom to drift away, and Ark gradually does, a subtle choral introduction playing out in the background and those emotive guitar chords escaping from their structure, as everything fades to silence. Lord knows where those four minutes disappear to, but it is among one of the most absorbing pieces of indie I’ve ever encountered. While it can be labeled as romantic, Marcus Pike imbues his soul to the darkness, conjuring a spellbindingly beautiful ambience and sense of sombre with little more than his voice and a guitar, and the impact and resolve of that delivery, clamours for recognition far beyond the London live scene. Inspirations accounted for, there feels much, much more exciting and diverse to come from this fantastic young solo artist.
While Marcus’ sophomore release is yet to have a certified release date, you can purchase Ark, and his previous EP Grand Piano from his Bandcamp page, as well as all other respectable music retailers. As a stalwart of the circuit, you’ll no doubt be able to find Marcus at a London show, at a time to suit you, so keep an eye out for when you can catch him live on his social media.
Speaking of social media, here are a few places where you can tell him, you love him:
And if you wish to tell me that you love me too, then consider leaving me a like, a follow, or by subscribing to the site (totally free by the by), by clicking the link that appears somewhere on this page:
The following account is of factual events that took place on the 27th October 2016, between the hours of 7 and 10pm. No details of this account have ever been made public. Until now.
I’m early. I’m not often early for a lot of things. In fact, I’m so early I have to wander up and down the street and take refuge in one of the cheapest London pubs I’ve ever set inside, waiting for to validate my invitation. But a little after 8pm, a gentleman sporting the Black Futures insignia arrives outside Wandsworth Town station, I weave the password into my conversation with him and he presents me with a blindfold, and told to await transport to the secret location. Of what I know of Black Futures media, their imagery resembles some kind of VHS propaganda reel, but nothing that was to resemble the theatricality of what was about to happen.
Once enough attendees had gathered, the chauffeur asked us to enter the transport and put on our blindfolds. In the brief journey towards the venue, around about 5-10 minutes in length, there was music playing under the guise of Black Futures Radio; short instrumental MIDI renditions of songs, interspersed between stingers and amusing interjections from its monotonous host. I seem to remember the best one about ‘having a funny feeling in my nether regions,’ or something similar at least. Little were we to know at that time, that what was unconsciously infiltrating our ear drums was a mere taster of the sonic assault to come. While the radio provided some light relief and entertainment, it didn’t stop the feeling of foreboding, being driven around on London streets, in a vehicle full of strangers, to a location you knew nothing about.
At the location, I just about made the shadow of gates opening before the path, and driving down to what looked like an abandoned film set of sorts. Outside, flanked by personnel in hazmat suits taking photographs of every attendee, heavies in suits instructed us to place our phones in envelopes or we would be refused entry. Happy to oblige, I did so without first telling my other half that I wouldn’t be able to be contacted for an unspecified amount of time. You can imagine how that went, especially after telling her the last thing that happened was that I was just given a blindfold. Anyway, we were directed left into a room, filled with more hazmat personnel and two giant dispensers filled with ‘social lubricants’. The drinks could only be dispensed by ringing a bell, or honking a horn, dependent on which you wanted. The folk in the suits and googles remained silent throughout, pulling glasses from underneath which they kindly filled and only once pouring half a litre of gin, to top up the more popular of the two dispensers. Yikes. The room itself had little in the way of furnishings with two sofas, in a room filled about thirty odd people, but was filled with very curious paintings, photographs and instruments around. It seemed elaborate, like a lot of thought had been put into the decoration of this venue, deliberately like some kind of scientific experiment and we were the test subjects.
After a period of time for guests to mingle with one another, the room opposite in the hallway is unlocked, and we are welcomed inside a studio, outputting a frequency that feels like its properties could brainwash onlookers if exposed to in the right circumstances. Maybe that was the idea. But beyond the mixing desk and monitors, lay drums, microphones, a keyboard and a guitar, and a curious wall in the background which had a screen display inside what resembled a large sewage pipe opening. The door is then closed, the frequency is shut off and with the onlookers and myself all making ourselves as comfortable as possible, the producers known only to the world as SPACE and VIBES slowly emerge from the darkness and start the show.
With their first song, distorted, crunchy guitar opening up proceedings and thunderous booms of bass, before erupting into an apocalyptic big-beat bombshell that would bring a tear to Liam Howlett’s eye. The scathing refrain of ‘ten minutes to the end of the world,’ is unnervingly relevant, given the earth-shattering size of the music that surrounds it, and the visual element of strobe lighting in the performance really enforced the urgency and magnitude of their two-pronged attack. After three and a half minutes of electrifying energy, the storm subsides and you could be mistaken for thinking for more of the same is on the way. But this is where things begin to change, instead revealing a whole new dimension of influences that made for a truly mesmerising listen. Straight into now brand new single Karma Ya Dig!?, waves of reverb and delay wash over both sets of vocals and synths, unveiling a strangely soothing psychedelic ambience that certainly caught me by surprise. These two gentlemen’s vocals also harmonise so well together, that the phrase ‘I’ll see you on the other side,’ has lingered ever-presently in my subconscious since this day. A pseudo-industrial stomp gets us underway with a near punk-like sneer taking vocal duties, marching us towards a titanic guitar riff that wouldn’t go amiss in Britpop’s heyday and an overall vibe that feels reminiscent of The Chemical Brothers, albeit slowed to a pace you can headbang to. It certainly affirms that the big beat era of dance music circa 1990 onwards, has had a profound effect on this material. As if today’s electronic music producers and a punk band recorded together in a garage. It’s gritty, intense and energetic but without sounding lo-fi or unpolished. Astronomically far from it.
I must admit, that while their eight song set was nothing short of inspiring, it moved in a blur. I recall one track that had a dancehall style beat, some later present indie rock style influences and one track that which reminded me firmly of Does It Offend You, Yeah?, which in their own whirlwind of genre-smashing, is nothing but a compliment. They are an absolute sum of the parts of the people that work as the unit. SPACE, an in-demand punk and hardcore producer, with a reputation in the desert rock community to boot, and VIBES, a multi-talented instrumentalist and electronic music producer, that works with an abundance of live acts in and around London. Their union has formed something undeniably unique, and witnessing the translation of their chemistry together in the flesh with such a striking and impactful live performance, and the interactivity before the performance even took place, has made me fall in love with these gentlemen and get overexcited over what was to come. It truly was a privilege to be invited along and be part of this undoubtedly intriguing and involving movement.
The opportunity to see it for yourselves, lies on the 5th October at Bloc in Hackney, 8:30pm start. Prepare for an immersive dance experience unlike any you’ve ever encountered. If you want a further testimonial, I left that night with new friends, whom I realised I shared a closer connection to, than just being attendees to this exclusive performance. And I’m often a painfully awkward individual. If that isn’t something that asserts the power or the spiritual significance of the Black Futures experience, then I don’t know what will.
Join the Existential Expedition Club right here:
And if you want to join The Soundshark Subscription Club (that’s not really a thing, but you know…) then consider giving me a like, a follow, or by actually subscribing to the site via the link that should appear on this page:
It seems very few people utter a breath about 2016 any more. Probably for good reason, it seemed very much like a culling of revered figures and idols of popular culture, let alone a universal gasp of disbelief at what idiocy we may have unleashed on the world. 2017 isn’t really fairing any marginally better in that department, by a hair strand at best. But whisper it: The music is fantastic. If you want to invest in it of course. Admittedly, this list was compiled at the inset of 2017, but as the halfway stage of this year rapidly approaches, it still holds as an all-star ensemble of killer bands you may have overlooked, some yet to release their brand new material and some you may never have heard of. It seems like a solid enough foundation for this article to still exist, while maintaining some resemblance of relevance. That, and you may be reading this, looking for some new music to listen over the summer. Let’s get started, shall we?
Among all of the things that 2016 brought to us, no matter how good, bad or ugly, collectively, it was a very strong year for new music, hence why I have had an incredibly difficult task assembling a list of just ten albums that have lived on repeat and high volume. My only regret is that there are still albums missed I have yet to listen to, by artists I am yet to discover that could’ve been exemplary. If I were to just leave this to albums I’ve heard this year, Lantlos’ Melting Sun or Black Breath’s Slaves Beyond Death probably would have romped away with this one, despite being out in 2014 and 2015 respectively. There are so many honourable mentions too that a cephalopod with hands need be employed to even fathom counting. But, lo and behold, here are the ten albums from one of humanity’s most troubling years, that I personally consider to be certifiable must-listen experiences:
10. The Maras – Wax Beach
Having never met The Maras personally, it would be safe to say that the brothers from Ontario are a little hyperactive. Not purely because they’ve released a demo, an album and a brand new EP in the space of a year, but the speed, urgency and average length of their songs might have something to do with it. Though Wax Beach could be seen as an expansion of their already superb demo, the re-recordings sound a lot denser and deranged, letting their garage punk snarls and smorgasbord of influences flourish, on what is on one hand a damning indictment on mental health services, but on the other a dizzying rush of genre-bending bliss.
9. Cruz – Culto Abismal
From beginning to end, 2016 has seen some magnificent death metal releases, but few have been quite as memorable as Barcelona quartet Cruz’s Culto Abismal. Injecting crust punk deep into the veins of death metal’s old blood, this untameable hellbeast of an album charges fast and ceases to relent once in motion. Deep growls in their native tongue punctuate the onslaught as a cavalcade of riffs over 40 minutes keeps the monster moving, the perfect balance of speed, technical ability and sickeningly heavy tone serving as Culto Abismal’s addictive centrepiece. Spain may not have the most renowned history in death metal, but on the basis of a debut this strong, Cruz sees reason for that to change very suddenly.
8. Maeth – Shrouded Mountain
With every stride that Maeth take musically, it surpasses and obliterates the last, ensuring their status as one of metal’s must-hear bands. Shrouded Mountain is their third gargantuan footprint and maintains their unique, boundary-warping compositions which straddles the planes of psychedelia and sludge like no other band before them. They also play a mean flute too, to boot. So however Maeth choose to construct their stunning, mostly instrumental journeys, whether taking you soaring through the vast reaches of space or crunching hard down into the Earth’s crust, you can bet that it will be with an energy, passion and talent that you can scarcely conceive, and Shrouded Mountain does not disappoint. Not by a long shot.
7. Bossk – Audio Noir
Always a looming presence on the UK’s stoner/doom scene, even during their split, Bossk’s first release outside of their seminal EP trilogy has catapulted their gorgeous ambient passages and pummeling riffs to unprecedented new heights. Though can be listened as an entire conceptual soundscape, the fragmentation certainly aids the quartet’s longest opus to date and makes every change of pace and tone a stellar moment. Even vocals, while used sparingly, are utilised at their most impactful, shifting what already sounds like ripping your throat out intensity, into ushering in a new Armageddon. Bossk undoubtedly stamped their authority through live performances over the decade their name has existed, but Audio Noir distills that very essence into an immensely satisfying anthology, proving that they are here to stay.
6. Vodun – Possession
Lifting its name from the homophone of voodoo, as well as incorporating aspects of its lifestyle and culture into this very music representing it, this trio from London perform an ungodly racket that’s equal parts punchy to pulse-raising. In arguably one of the most original takes on big, fuzz-saturated grooves in years, the literally spirit-fuelled Vodun drags stoner rock by its ankles and imbues it with a staggering amount of soul. Think Aretha Franklin fronting Kyuss and you’re damn near close. The presentation of the album in a semi-documentary form, with a ritualistic thread running throughout, is a neat touch and grants deeper immersion into Vodun’s already enchanting sledgehammer of force and one of the best hard rock debuts of the decade.
5. Losers – How To Ruin Other People’s Futures
With an album title that scathing, you wouldn’t be wrong thinking there is intense subject matter here. Suitably riled up trio Losers, well versed in their weaving of expansive, luscious atmospheres, frightening buzzsaw synths, distorted guitar attacks and truly thunderous percussion, unleash one of the most adrenaline-surging bouts of electro-rock charged catharsis you could ever hope to listen to. While How To Ruin Other People’s Futures features several bursts of pounding rhythms and explosive instrumentation, it allows enough breathing space for a whirlwind of ambience to take shape, for every conflagration and slow-burner, all with Paul Mullen’s dynamic vocal delivery giving a touch of humanity where chaos could spiral out of control at any given moment. A simply tremendous listen.
4. Youth Code – Commitment To Complications
Certainly one of the most talked about bands of the year and for excellent reason, the Los Angeles duo’s sophomore offering builds upon the vintage analogue synths and drum machines of industrial’s heyday and cleverly sprinkles the zest of their own hardcore upbringings into the formula. The results are nothing short of spectacular. The growth from their debut is undeniably evident, not just as tempos vary and tones are more exploratory, but their whole sound is gigantic on this album making every notion of rage and every raw nerve amplified tenfold. When beats vibrate your skull and melodies claw into your brain like Youth Code’s do, it instigates that addictive property that all EBM enthusiasts have been raving about all year.
3. Noisia – Outer Edges
After mentions for half a decade, then seemingly nonchalantly announced three months before its release, Dutch drum and bass production maestros Noisia have compiled their second studio album, far more abstract and experimental in approach than the trio’s previous Split The Atom. While you will find the same mind-altering, visceral bass lines associated with the Noisia name, it’s the deeper, darker and noticeably slower beats that become the show stealer here. Often quirky in nature and exquisitely composed to emphasise the very best of every minuscule detail, the heavy gestation period for every track, especially the beats-driven numbers, brings a world class finish to what could filter through as an oddity, but arrives as a masterpiece in sound design and further reason to immortalise Noisia as the one of the best the genre has ever seen.
2. The Qemists – Warrior Sound
In the six years since the Brighton drum and bass rock outfit’s last album, they’ve been honing their skills to create dancefloor anarchy on the live circuit, a tenure that has seen their reputation skyrocket as one of the UK’s best independent live acts. Now that energy has finally metamorphosed into The Qemists’ strongest, most consistent blockbuster yet. Fixing both live vocalists as permanent band members, has only benefited the original lightning strike of a production unit, and makes every word have purpose against the backdrop of all-out mayhem. Unforgettable, unbelievable and unflinching in the pursuit of perfect crossover bombshells, Warrior Sound is a sonic shockwave explicitly targeted to induce pleasure at an intoxicating level.
1. All Hail The Yeti – Screams From A Black Wilderness
Three years on from their scorching debut, the Los Angeles metalcore mob return with a follow-up that is perpetually more terrifying in every imaginable way. Spinning narratives so gripping and ghastly, the lines of fact and fiction dissipate into black mist as imposing, monstrous roars with some mightily impressive clean vocal support coalesce their strength as bloodthirsty wordsmiths. Though horror and the occult is the given flavour, Screams… exhibits a previously unseen versatility in All Hail The Yeti, in that their sound features much broader influences from rock and metal, that fires on all cylinders and mellows in acoustic gloom. A hard-hitting, yet gruesome landmark of metalcore, All Hail The Yeti have once again established that they are one of the most essential bands in modern metal.
If you liked the look of this list and want to hear more, then here is a handy Spotify playlist for you (except Maeth, whom you can find on their Bandcamp page):
And in the mean time, if I feature anywhere in a top ten for you, or you enjoy what features on this site, then by all means feel free to give me a like, a follow or a subscription to the site by clicking the link below:
So this is a first for the site, as somebody sworn to never do live concert reviews, a run-down of ten stand out live acts that I’ve seen over the course of 2016. And I’ve seen a lot of them. It’s pretty self-explanatory really, only I’m not exactly reviewing them, just highlighting why they made this list. This isn’t limited to headline acts by the way. The only exception that I have made is to try and limit festival appearances, as there were numerous bands seen in the space of a day at some festivals that could’ve made up lists of their own. And I have had to discount one entry that should be on this list, that of being The Offspring and Bad Religion at Hammersmith Apollo. The reason being counting individual performances, both were absolutely superb on the night, more than satisfying the inner 13 year-old in me and being hard torn to pick a favourite, just makes it easier to disallow it altogether. Sorry, no joint entries for this one. Without any further ado, here’s who played stellar live shows in 2016:
10. Raveyards @ Camden Underworld (supporting Perturbator w/ Dan Terminus) – 08/06/16
Bands like Raveyards perfectly demonstrate why you should always try and check out the support bands for a live show. Knowing nothing of them, walking into Underworld with half of the stage consumed by mesh netting, projection screens and one of the most elaborate live musical setups I’ve ever seen was an eyebrow-raiser. Every component of an electronic music performance was in their control and performed in real time, with their expansive shadowy atmospherics and gigantic beats, matched with a kaleidoscope of visuals made for a spell-binding spectacle. Spectators seemed happy to have the space back afterwards, but Raveyards’ attention to detail alone has to garner recognition.
9. Allusondrugs @ The Black Heart, Camden (w/ Fizzy Blood, This Years Ghost and Snakes) – 03/08/16
Always a band on the cusp of greatness, the Yorkshire grunge revivalists played a packed Black Heart and showed everybody why they are one of the most talked about live acts going in the UK right now. Switching between slower psychedelic pinches and frenzied fuzz slammers, all delivered with their inescapable talent for writing infectious hooks, I went into this show, having had some personal bad news that day and left with joy and an affirmation of life once more afterwards. They near had to be dragged off stage after a storming 45 minute performance, but such is their allure and brilliance of their music.
8. Youth Code @ Electrowerkz, Islington (w/ Shallow Sanction and Evestus) – 14/10/16
If there ever was a band that embodied controlled chaos, then Youth Code is that band. Marking their debut in the capital city with their revisionist approach to industrial and EBM, there is no wasted movement from beginning to end of their set, both Sara and Ryan screaming and launching themselves across the stage in a frenetic display. Despite a breadth of luscious synth arpeggios and skull-rattling drum machines, it’s their sprinkle of hardcore, that makes every word screamed at you personal and elevates Youth Code’s all-out sensory assault to an absorbing war dance you never want to end. Can you say: the next Ministry?
7. Jean-Michel Jarre @ The O2 Arena, London – 07/10/16
It kinda goes without saying, that when you go to see a concert from somebody widely regarded as the Godfather of Electronic Music, as a pioneer whose forays into music and technology span 40 years and a former world record holder for the largest outdoor concert ever, you’re in for a spectacle. And having missed the chance six years previously to see him, he did not disappoint. Ever the showman, touring through his greatest hits and his frankly superb Electronica project, his inspiring ability to flawlessly recreate every nuance of his work, live, to a visual extravaganza that evolves much like his compositions can only cement his legacy as one of the most influential figures in modern music.
6. Petrol Bastard @ Resistanz Festival (Corporation, Sheffield) – 25/03/16
I do wonder how many people have said at a Petrol Bastard show, that the duo played their dream set list. I certainly can. Opening up Resistanz Festival in Sheffield’s Corporation was a 45 minute performance piece about masturbation, drinking and violence set to an unrelenting techno, gabba and drum and bass soundtrack… and it was some of the most fun I’d had all year. Forcing crowd participation with a tide of inflatable penises and unforgettable slogans, and with a little help from Johnny Ultraviolence, this crude, colourful riot was impossible to ignore and left many smiling from ear to ear. Plus how many gigs let your girlfriend try to sexually assault one of the band members with an inflatable penis?
5. Monster Zoku Onsomb @ Boomtown Fair, Winchester – 12/08/16
Out of the inconceivable number of bands and pass times at Boomtown Fair, these guys could’ve been easy to miss on one of the smallest stages around. But once in range, you couldn’t escape from them and those onlookers in attendance never wanted this madness to end. A troupe of Australian musicians specialising in belting rave tunes, spanning a whirlwind of tempos, spliced together with B-movie references galore and occasional 60’s surf guitar, happily run amok in their 45 minutes on stage. Choreographed dance routines, inviting an adult baby on stage and what may have been a declaration about being in Eurovision 2017 only added to their unique brand of electronic dance carnage.
4. Toska @ The Boileroom, Guildford (EP Launch Show w/ Eschar, The Deadlights and Steal Rockets) – 27/02/16
Possibly the only headline band I have ever seen without knowing a single thing about, was also one of the most astounding. Made up of three quarters of melodic hard rock starlets Dorje, Toska sacrifice none of that intensity and churn out wave after wave of instrumental metal bliss, hurled at such force you’d think there was an earthquake. The energy they emitted could’ve powered large city blocks and their respective talents are hypnotizing to observe; simply everything about their performance was immense in stature, given their debut recorded release. They made crafting invigorating, progressive music seem so effortless and it was an absolute pleasure to watch them at work.
3. Lionize @ Desertfest London (Camden Underworld) – 29/04/16
In what is somewhat a recurring theme on this list, I went to watch Lionize, only knowing that they were Clutch’s in-house band and left absolutely speechless. Imagine if James Brown had fronted a balls-to-the-wall rock band and invited Bob Marley along as a touring member and that merely scratches the surface of what these gentlemen can do on stage. Ferociously charismatic and passionate beyond all belief, Lionize toured a myriad of genres and had tremendous fun doing it, all with every attendee transfixed at this true powerhouse of a performance. I’m surprised the Underworld didn’t burst having to contend with holding these guys back, one of the most impressive modern rock bands alive today.
2. Kowloon Walled City @ Camden Underworld (co-headliners w/ Minsk, also w/ Bossk and Wren) – 03/09/16
Credit where credit is due, Bossk were also spectacular on this night, but for a band that had never stepped foot in the UK before and had come to the end of a near two-month tour of Europe, emotions were always going to be high for these guys. Kowloon Walled City’s use of conveying so much intensity and feeling into their tone, while being pulverising in the same capacity, makes every note gripping to behold and very, very few bands can even touch them in making sludge sound so breathtaking. Spanning seven songs across 45 minutes, this set made a titanic statement as why Kowloon Walled City could be considered one of the best bands on the planet.
1. Placebo @ Wembley Arena, London (w/ Minor Victories) – 15/12/16
What more can be said about Placebo? Never has a band resonated with me emotionally and spiritually as Placebo has and likely I wouldn’t be where I am today without them. Hell, I wouldn’t have a degree for starters. But there could be no more fitting show for them to play in their hometown on the 20th year of their inception. The atmosphere was electric and applause rapturous as the band strode through a terrific career-spanning set, that touched many through melancholy but lifted everyone through liveliness. Lyrically they have few peers and musically, their grunge-embezzled attack sounds as fresh as it did in June of 1996. Arguably, one of the UK’s greatest cultural phenomenons.
I hope you enjoyed my selection, and if you agree with these choices, or enjoy the writing that’s on this site, then you can show your appreciation through a like, a follow or subscribe to the site using the link below: