Regardless of the odd ordering and slightly uneven feel of the line-up tonight, it was clearly a monster, and further proof that anything stamped by Sublime Terror Promotions, Cult Never Dies and/or Zero Tolerance magazine indicates a grimly exciting badge of quality.
What I really like about COL is how well they play the quiet before the storm, the steady rise and the heavy drop, the brooding swell and the tidal wave – in other words, the essence of the post-metal sound that they laid the foundations for.
There’s far more to Glastonbury’s music scene than just a once-yearly festival in nearby Pilton. We relive 10 highlights from this year’s psychedelic celebration at The King Arthur here and now.
Like the previous year, this 2019 edition of the Pitchfork Music Festival proved to be as exciting as it was unpredictable, a fertile ground where unmet expectations on one end are inevitably traded off with amazing discoveries found not far elsewhere.
I do miss the more sinister Mk1 and 2 iterations of Ghost, but they are not my band: they are the people’s band, and their number grows ever larger!
Earth segue into ‘Even Hell Has Its Heroes’ from Primitive and Deadly, and the opening riff resolves into two absolutely glorious open chords, which sound simply wonderful. For that’s often the best aspect of Earth’s sound: every repetition establishing the riff more firmly in your mind until you appreciate how well-crafted that it is, and how the very final part of that riff leaves you gleefully anticipating its reoccurrence.
The show’s not over. As expected, they’re back, and take us right back to their very beginning with ‘Hurry on Sundown’ . . . and then the quintessential Hawkwind riff-monster, the incomparable ‘Master of the Universe’. This is it. This is what made me love Hawkwind forty-odd years ago, and what is likely to keep me coming back from time to time.
One of the most fun gig nights I’ve been to in a long time and vastly surpassed my expectations. De Staat performed impeccably and left the whole crowd baying for more. I would recommend anyone wanting to shake of the cobwebs and do some serious grooving, to go and see De Staat next time they play in town. I promise it will be so worth it.
While they were playing, I couldn’t help to think about the fact that they have been together for 20 years. Touring, writing and recording emotive music for 20 years! It’s incredible and incredibly beautiful when you think about it. It was an emotional night.
This band is important. They remind us that neoliberalism is construct not nature; it’s corrosive effects can be resisted. I don’t know what effective protest looks like at the moment, but this feels like part of it because it’s an affirmation of what makes us human; reminds us of what life is meant to be about: community, trust, hope.
With such a large and diverse selection of bands I was spoilt for choice; my only regret is that I didn’t see enough. All that can be asked of Wild Paths Festival going forward is that it keeps true to its local-community-led approach while still aiming even bigger and better. I really hope it is here to stay and can grow and support itself over the years to come.
If you’re remotely interested in listening to guitar music, do your ears a favour and go and see these guys right now (ideally supporting Sunn O))) ). Watching Caspar Brötzmann Massaker perform takes me back to my earliest experiences listening to rock music, and reminds me of everything that made the electric guitar sound so exciting in the first place – so dangerous, so limitless, and so utterly essential to living.
It goes without saying that Cattle Decapitation are one of a kind. They’re a forward-thinking outfit that hit harder than most but underpin their brutality with a globally conscious viewpoint steeped in frustration at every moronic misstep that our species manages to take with each passing day. So why are they so damn enjoyable to watch? Well, that’s what tonight aims to uncover.
I think Dani Filth is one of the best extreme metal vocalists around: ultra-distinctive, versatile, and not to mention an outstanding song- and lyric-writer. And Cruelty is possibly his finest work . . . it’s clear from this show that they’re going through something of an internal renaissance, bouncing back rejuvenated. Even if you missed this special show, now is a very good time to go and see Cradle of Filth.
The Sax Man came to Tufnell Park as Rivers of Nihil played an unforgettable album show of Where Owls Know My Name, at the Dome.
Qujaku are not at the point in their career where they can yet play venues big enough for a production as impressive as IMPATV have brought here, but they’re so good it probably won’t be long. You don’t want to miss this tour.