Popular music is a hard gig. To maximize your chances, you quit doing everything else and it becomes your only option in life. Then if that turns out poorly, you have the choice of being a 40-year-old shelf stocker at the local grocery, or swallowing your pride and becoming a cheesy third-ring entertainment figure. For this reason, musicians — especially those who first bands did not make the final cut of election to “favorite” of the public — tend to pander, flatter and provoke the public whenever they can. The resulting drama is the only thing standing between them and putting those cans on the shelves.
To clarify what is happening here: some armchair white knight decides that because some guy out there does not like homosexuals, there must be a social activity consisting of people gathering to hate on this guy. As usual, I point out the reality-based analysis which is that his opinion does not concern us; let him do his thing, and you do yours, and stop being a busybody nanny state jackbooted interloper simply because your life is boring and your society is failing and you want a scapegoat for all your problems. Grow up, in other words.
That set off a chain of nasty replies. According to David Ingram (Benediction, Bolt Thrower): if you defend free speech, you are on the side of “hate” and you are a very, very bad person. To him, defending the right of people to coexist is the same as endorsing the most extreme of their opinions, even though I never said anything in support of what the guy said, only his right to say it and the maturity of letting him enjoy that freedom over there without our action against him. Free speech works when the other guy says what he wants, and you say what you want, and you do not directly intervene in one another. Boycotts and mob attacks change that, even if non-violent, and we all suffer as a result.
Not wanting to let a good dialogue drop, I took it up with Ingram when one of his promotional spams hit our inbox:
Again we see the formula: defend free speech and you are a Nazi.
Join the angry mob and you are “good.”
Interesting to see Mr. Ingram cave to this. I suspect he is just doing it to try to keep his (flagging) career alive, and I have sympathy for that. But one can never truly have sympathy for those who use bad logic and are motivated more by hatred (of anyone who disagrees with them) than a desire to do right.
Returning from the brutality of a Bolt Thrower show to recollect the events that defined it brings to mind the task of Ernst Junger, depicting the graphic scenes of martial violence and destruction in his soldier’s memoirs, ‘Storm of Steel’. Not merely the sounds of war and chaos, but the philosophy of death is what one has to confront on such a stage, and this sums up the depth of the Bolt Thrower experience. The great elemental gods of Britannia fired the opening salvo of the evening, unleashing a torrential downpour on the troops to be in attendance once conscripted into the dismal but still functional ULU venue, around the University College London site and home of the un-elite Utilitarian philosophy. A single flash of lightning, probably striking the Cenotaph for the war dead a few minutes away in Whitehall, would indicate that this night belonged to only one elite group, and the slowly multiplying hordes as if signalled to the venue by this storm omen, proved that the headliners were in everybody’s iron sights.
In the meantime, some fairly well-known bands would run through comparitively uninteresting sets in order to plug new albums or just an association with Bolt Thrower on this Next Offensive European tour. For the one unknown band, clearly grateful to the Coventry squadron for being able to provide opening infantry support, Ancient Ascendant took to the stage with some confidence and raged through their set infront of the minimal crowd at this time. The sound was not good and the technical setup of the venue’s sonic equipment would be a recurring issue throughout the night, usually leaving bands with an unbalanced sound. Even less impressive was Ancient Ascendant’s music, which was practically educated by the newer schools of Death Metal exclusively, sounding like a more frivolously melodic version of Bloodbath. A lot of generic rhythmic business with some predictably inserted flourishes of lead guitar lines and none of the compositional sense that at the very least ripping-off the old school Death Metal formula would have imbued the songs with by default. Even the next band, The Rotted’s only listenable song was from the older generic Gorerotted project, which is not much less moronic than The Rotted who are really damn retarded in this incarnation, with their stripped down songs consisting of one riff from a later Cryptopsy song played out as blasting Punk music. It’s also quite strange and not recommended to watch old, drugged up men performing breakdowns.
Considered by many as nothing more than a brief distraction, this was soon forgotten as the once powerful entity of Promethean Greek Black Metal took to the stage and the floor swelled with eager hordes. For someone that reveres the older fraction of their catalogue as highly as the Nordic classics, the Rotting Christ set provided both frustrating disappointment but also possibly the biggest surprise of the evening (not the appearance of Diamanda Galas). The transition from ancient Heavy Metal-inflected compositions of blackened mysticism to a boring and cheap form of fast and extreme Rock music with pseudo-cultural embellishments that would make Vangelis either laugh hysterically or summon the wrath of Mars upon Sakis and company, was made quite some time ago when the band sold out to Century Media and although the recent jump to Season of Mist has only marginally improved the quality of their music, the bulk of their songs is blockheaded rhythmic work that wouldn’t sound out of place on a System of a Down joke and disembodied keyboards typical of mainstream Black Metal bands to accompany the minute flickerings of nostalgia that is the signature Rotting Christ melodic style, the same tactic used by fellow Greeks, Septicflesh. Within this disastrous but obviously crowd-pleasing selection of tracks was something quite unexpected given the current direction of the band and their most recent live performances. Almost as though the old spirit of Necromayhem broke free from his sealed confines, the band launched mercilessly into ‘Sign of Evil Existence’, flooding the crowd with a sea of beautiful, extended phrasal work, causing an absolute frenzy and evoking the first old school invocations of the night. Not content with such a brief introduction to arguably the pinnacle of their early discography, ‘Fgmenth, Thy Gift’ continued the magic of ‘Thy Mighty Contract’ with the folky but regal opening riff surging into those magestic, ascendant patterns of guitar. The higher register key of these older songs manipulated the flatness of the sound setup brilliantly, with every note perfectly audible and a memorable contender for song of the entire show.
Benediction were next on stage, an aging group of Death Metal punks fronted by Dave Hunt of Anaal Nathrakh, Mistress and Never Mind the Buzzcocks fame, who nearly talks as much shit on stage as Barney Greenway, including an embarrassing appeasement of some girl’s sob story about a now deceased Benediction fan, thankfully met with a shout of ‘Only death is real’ from the front of the crowd. The set itself was a typically reliable collection of songs spanning most of their discography, better suiting the live environment than on CD, inducing as much violence from the crowd as their primitive, bouncy Death Metal can, like ‘Harmony Corruption’-era Napalm Death meeting ‘Tower of Spite’ by Cerebral Fix. It wasn’t much of a loss to have a guitar cut out during their stint, as the rest of the band seemed to push onwards, building up as much aggression as possible and justifying their placement on the bill, though it was huge relief to hear the end of Benediction at long last, for the lights to dim and the next offensive to commence proper.
Anticipation was immense for the legendary Grindcore/Death Metal ensemble and the battle hordes pushed forward like a scene from Braveheart, rivalling the force of a 90,000 strong audience gravitating towards the celebrity status of Metallica. Faint sounds of approaching war lingered from the amps over the field as Bolt Thrower finally took to the stage and launched straight into the sombre yet mammoth opening riff to ‘IVth Crusade’. The deliberate, sinister pacing of the double bass began to roll through and the crowd imploded into deadly chaos and aggressive force. As bodies began raining from the skies like mortar fire, crushing necks and leaving temporary indents of fallen victims, the atmosphere became thick with the smell of blood, sweat and the disturbing fragrances of shampoo. A large bulk of the set consisted of tracks from the last album but these were all delivered with enough power and rousing, anthemic vigour to blend seamlessly with the more skillful dynamics and evocative melodies of the older songs, from the brilliant rendition of ‘World Eater’ into ‘Cenotaph’ to the unforgettable lead guitars of ‘…For Victory’.
Bolt Thrower commanded the crowd, Karl Willets looked like a war-torn veteran but still yet to be tamed as the ferocity of his vocals didn’t let up for an instant. Jo-Anne Bench is undoubtedly the most menacing female presence in the entire Metal scene, and the poorly balanced sound worked well to render the songs with more bassy fury than can be heard on record. The subtle rhythmic variations of Baz’s guitars on the other hand were not as discernable, but for a seemingly undiscerning crowd, this did nothing to quell the primal violence that tore bones asunder in a ritual of combat replication. The signature riffs were also fairly muted but managed to somehow shine through like the sun between Afghan mountain peaks, and as the band returned for an encore, the perfect choice of songs scorched the stage like a vast napalm attack, with the ominous theme of ‘War’ transforming into ‘Remembrance’ as though the sorrows of Arjuna had been cast aside as he takes to the empty plains of Kurukshetra, seeing the world as it is.
Even as the band exited, the feelings of confrontation and pugilism reigned as brawls ensued and battered humans walked out to count their wounds. The show proved how bands such as Bolt Thrower who retain their integrity, remain possessed by this same eternal process of nature’s evolution and deliver like a well-trained soldier, with precision and consistency will rule for the longest time. We will remember them.
The annual Canadian black metal festival Messe des Morts is being held this year despite last year’s edition of the festival being shutdown by communists, anti-fascists and social justice warriors supported by the Montreal police as nationalist bands Graveland and Forteresse were booked to play. The 2017 edition will be held on November 23rd through 25th in Montreal according to the released flyer. Hopefully Messe des Morts will fight back against the leftist manlets this time around.
Memoriam posted the first track and track list for their upcoming death ‘n’ roll album For the Fallen. Hear Karl Willets sound tired and rip off himself on “Reduced to Zero” over riffs that make Benediction‘s The Grand Leveller sound like a peak of death metal in comparison. I’m so excited! Let’s find out what this single sounds like!