Category: Alternative

Atmospheric French rockers Klone have premiered their new video for the track  “Silver Gate” taken from their 2019 studio album Le Grand Voyage.

Klone’s guitarist Guillaume Bernard explains how the track fits within the album “‘Silver Gate’ is the most atmospheric track on our album ‘Le Grand Voyage’. Lyrically the song takes a look at the cyclical side of things, like death and rebirth, one cycle ends another begins. Each instrument you hear tells part of the story and together forms a whole, in a suspended and dreamlike atmosphere.

It could be seen that ‘‘Silver Gate’ is closely linked to ‘Yonder’; almost like mirror tracks, as ‘Yonder’ opens the album, ‘Silver Gate’ closes it, both these songs have a similar feel and theme.
For the video clip we called again on Julien Philips, who directed the clip for ‘Breach’. We work closely with Julien so that the aesthetics and the story fit perfectly with the music.”

Le Grand Voyage, the band’s 2019 release and first for Kscope, is bold in sonic ambition, twisting dark guitars and electronic ambience into a modern masterpiece that feels excitingly new, yet in many ways feels like a contemporary take on Pink Floyd’s Dark Side Of The Moon. Not only has Le Grande Voyage received high praise from the media, just a small selection of reactions can be seen here, but the album’s cover artwork, created by Francesco Dell’Orto, was awarded 1st pace, best design at 2019’s Art Vinyl awards.

 

When Nergal isn’t thrilling the world with his amazing talents with the mighty Behemoth he is exploring the darker side of folk music with his side project Me And That Man. Their first album Songs Of Death And Love landed in 2017 and was well received by both critics and fans alike.

Now three years later he has once again put his Me And That Man hat on and returned with their sophomore album – New Man, New Songs, Same Shit Vol 1. He recently took time out of his hetic schedule to sit down and chat to me about the album.

“I’ve found myself inspired by the same kind of music for quite awhile now,” he says as we talk about his love of folk music. “My idea though was not to replicate the old blues players or the old folk players. The plan was just to get to together with a bunch of dudes that I respect and just make some music of our own – because it is all rock ‘n’ roll at the end of the day. The bottom line was to enjoy it, have fun, be proud of it but here we are at the end of the day with eleven songs and I am very happy with the record.”

Those amazing bunch of dudes on this album include the likes of Matt Heafy from Trivium and Corey Taylor from Slipknot so I ask Nergal at what point of the song-writing process does he know who the guest vocalist will be on each track. “Every story kind of has a different formula behind it,” he says. “That is really hard to say actually because I end up putting every song out on a plate and then I put the album together piece by piece. Every song has a different approach and has a different treatment so I would have to so no, no because some of the guys would know exactly what I wanted to achieve and other songs which just have a certain feel and I would know who to reach out to. Then we would just see what happens.”

And if anybody out there has a fantasy about Nergal pulling all these talented musicians into a studio at one time to work on the tracks then think again because this is all done though the wonders of the internet. “That is basically how it is all done,” he says laughing when we begin to talk about how easy it is to send tracks online these days. “It really is done as a long distance relations and collaborations. That is the only way to make it, honestly. That is the way of being a musician now, even when you are musicians in one band you tend to be spread around so we just communicate that way. I think with what we are facing now that way of doing things is going to become even more common.”

“I mean let’s say twenty years ago that I wanted to record this kind of record,” he goes onto explain. “It probably would have taken us five years to have completed and it probably would have cost me ten times the amount that it cost me”.

One of the highlights of the album is Matt Heafy’s amazing vocals on the beautifully dark “You Will Be Mine” and it turns out that the track impressed Nergal just as much as it did me. “Absolutely, absolutely,” he says pretty much lost for words when I ask him whether he was blown away when he first heard the track. “It is one of the best performances on the record. He took two shots to get there though, the first version of the song that he sent me he just over did it – it was just exaggerated so much, he just made it so evil, it was just like *growls over and over* So I was like ‘man that is too much, relax you know, just step back and relax.’”

“The you know the next version that he sent was way too soft,” he goes on to explain. “It was way too angelic and I was like ‘man let’s put it away, do something that is in between these two takes.’ And it is that final version that you hear on the record.  I remember that he asked me if I wanted to auto-tune it so I went to the studio with our drummer and we went over the track once and then we went over it twice and we were looking at each other and we were like why do we have to auto-tune this he has done it perfectly. Even if there are a couple of imperfections here and there then that makes it perfect so I said to him ‘Matt we are not changing anything because we fucking love your performance and it would be so wrong to even tweak anything.’ But yes to answer your question, it is an absolutely amazing performance.”

 

New Man, New Songs, Same Shit Vol 1 is out now.

 

 

Artist: Me And That Man

Album: New Man, New Songs, Same Shit Vol. 1

Date Of Release: 25th March 2020

Label: Napalm Records

Track Listing:

1. Run With Devil (feat Jorgen Munkby from Shining NO)

2. Coming Home (feat Sivert Hoyems from Madrugada)

3. Burning Churces (feat Mat McNerney from Grave Pleasures)

4. By The River (feat Ishahn from Emporer)

5. Mestwo

6. Surrender (feat Dead Soul and Rob Caggiano from Volbeat)

7. Deep Down South (feat Johanna Sadonis from Lucifer and Nicke Anderson from Entombed)

8. Man Of The Cross (feat Jerome Reuter from Rome)

9. You Will Be Mine (feat Mat Heafy from Trivium)

10. How Come? (feat Corey Taylor from Slipknot/Stone Sour and Brent Hinds and Rob Caggiano from Volbeat)

11. Confesson (feat Niklas Kvarforth from Sining SE)

 

Review:

There is just something about blues, folk and country that seems to go hand-in-hand in metal. Artists such as Nick Cave has shown over the years that there is a darker side to blues and folk that needs to be explored while for generations country singers have been singing about oppression and murder. It was therefore no surprise that when Nergal (who many would know as the Behemoth frontman) formed his dark blues/folk side project Me And That Man that their debut album worked so well.

That brilliance that stunned the music world with Songs Of Love And Death back in 2017 once again rears its head on New Man, New Songs, Same Shit Vol. 1 and album that I get the feeling I will be playing over and over for a great many years to come.

One of the joys of listening to a Me And That Man album is the album takes you on two very different journeys. The first being a story-telling journey, if you sit and actually listen to the lyrics of each of these songs you will see that each track tells a story in itself, it’s like dark poetry or a Gothic short story. The second journey is the one the listener is taken on as the array of musicians that lend their vocals to the album each bring their own tone and mood to the ‘story’ that we are listening to at the time.

This isn’t an album that is all about the vocalists though, no, even musically things change here quite quickly. For example opening track “Run With The Devil” is a foot-stomping, catchy blues driven rock track complete with saxophone. Then there is the gospel sounding “Surrender”, while the banjo, piano and harmonica infusion on “Deep Down South” makes it sound like it was recorded at a good old fashioned jamboree at a Western Tavern.

Nearly every track on this album is worth listening to on repeat but there are some stunning highlights. The dark folk nature of “Burning Churches” makes it sheer brilliance while the amazing vocals of Ihsahn on “By The River” are only bettered by the stunning guitar work.

Then there is the smooth “How Come” – a rock track with the brilliant Corey Taylor at the helm, but the highlight for me is the violent love song “You Will Be Mine” which features vocals by Matt Heafy. Not since “Where The Wild Roses Grow” has there been such an intriguing murderous love ballad.

There is a beautiful, moody darkness that comes from listening to Me And That Man. The atmosphere created by the music on New Man, New Songs, Same Shit Vol 1 is simply perfect for this global lockdown. It is the soundtrack to this period of time that we need. Hauntingly beautiful and a song-writers dream this album is true genius.

Rating (out of 5): 

 

Standing together, while being apart, is bringing out the best in all of us in times like these.

Artists have been creating and sharing new material with fans who are home-bound through virtual concerts, fan Q&As and new music releases as varied as fans’ tastes.

To inspire positivity and connect with a global audience, AWOLNATION has enhanced their current Top 5 single at Alternative radio, “The Best,” through a special international collaboration.

The hit single is about to explode with the addition of vocals from Alice Merton, the German/Canadian artist whose hit “No Roots” went to #1 at Alternative radio in the US and has global support from mainstream stations all across Europe.

I’m very excited to have Alice join me on this song,” says AWOLNATION’s Aaron Bruno.  “I’m glad that we were able connect to create this new version, even though we are in different parts of the world as we all stay home right now.”

This event-record, the first radio single from their upcoming album due out April 24 entitled ANGEL MINERS & THE LIGHTNING RIDERS, now features two artists with #1 radio records with millions of listeners worldwide on Spotify. Merton’s metamorphosis from Hype Machine and Shazam sensation to bona fide stardom has taken root. In addition to 7 Platinum Awards for her debut single in Germany, France, Italy, Poland, Switzerland, Austria and Turkey, Alice Merton has also won the Echo Award, EBBA Award and two awards for pop culture.

Bruno, the songwriter and architect behind AWOLNATION, wrote and recorded one of the most influential songs of the previous decade with the chart-topping, record-breaking track “Sail.” The first single off the platinum Megalithic Symphony (2011), “Sail” is certified Diamond (10 million) and holds the record for the most weeks on the Billboard Hot 100 chart by an independent artist, the second longest for any artist.  The debut album also produced the Gold certified “Not Your Fault” and two other Top 10 US singles.

AWOLNATION released the sophomore album Run in 2015 and 2018’s follow up Here Come The Runts. Across the span of 3 albums, AWOLNATION has notched seven Top 5 Alternative Radio hits, including two #1’s, and has accumulated millions of sales, downloads and over 1.5 billion streams globally. The music has been used in dozens of films, television shows and commercials around the world, and songs have been the genesis of viral sensations garnering hundreds of millions of streams and views across platforms like Instagram, Vine, TikTok, YouTube, etc.

Angel Miners & The Lightning Riders will be release don April 24 – Pre Order now

 

The last few months have been absolutely huge for Sydney pop-punk outfit Grenade Jumper. The band have done shows alongside FANGZ and the UNFD signed Hellions while their single “Gazed” was given airplay on Triple J. Now Grenade Jumper are back with a brand new single titled “Heat Wave” so I sat down and had a chat with front-woman Bianca Davino to find out a little more about the band that has everybody talking at the moment.

“The response has been really warm which we are really grateful for,” says Davino as we begin to talk about the way “Heat Wave” has been received by fans and the music press alike. “It has been such a crazy week but we are just so stoked to actually be able to get it out because we recorded it in either September or October last year and we have been sitting on it for awhile but in the mean time we have recorded our full EP so it feels weird to have this song out but it is great to have it in the world.”

Of course dropping in a single in the middle of the Covid-19 pandemic does cause some issues including not being do shows to promote it. “It has been weird,” she admits. “The track came out on the 20th and on the 15th the world was pretty much tracking along normally, so we were all okay and we had no plans to change the date of release or anything because we were locked into that date with PR and distribution, so we couldn’t change the date. So on the 15th everything was tracing as normal but by the end of the week I was ‘oh my God this feels a bit weird’ and then on the night of the 20th we were supposed to be doing a show with Eat Your Heart Out and that was supposed to be our big celebration kind of release show so to not have that felt like a little bit of a setback but other than that we have just had to amp up our engagement on socials.”

Davino also sees some advantages of the band being in temporary lockdown as well. “We are not looking at like we are having to put a lot of things on hold,” she says. “We are going to keep pushing on with the band because we are really keen to get onto things like live streams. We are recording music at the moment and if we can get that out through things like Bandcamp then maybe we can help distract from some of the craziness… that’s what we are here for really.”

Moving away from the lockdown talk we started to talk about how far the band has come over the last twelve months and what fans can look forward to it the future. “After “Gaze” was released we played a lot of shows,” explains Davino. “And we got a really warm response from that and that was really fantastic, but I think through playing shows with bands that we really looked up to and just seeing how they craft their songs to go off in a live setting we realised that we were really missing that from our set and we really wanted to push ourselves to the next level. “Heat Wave” was the first time that we had worked with a producer in a studio and we spent so many hours noodling over the song structure making sure that it ebbed and flowed emotionally and making sure it had different colours.”

“I think “Heat Wave” stays really true to our pop-punk roots but our EP will expand on that a lot,” she goes on to explain. “We are certainly look to a wider range of influences and we really want to show the diversity of what we want to achieve with the band. I think that has let us lean towards the alternative and indie tones a little bit more so that is what people can expect from the EP.”

With “Heat Wave” already out there and getting a great reception it is easy to see that Grenade Jumper’s debut EP is going to be one of the most eagerly anticipated releases of the next twelve months.

 

 

 

It is no mean feat for any artist to get signed to a label, but we all really need to be celebrating the fact that Australian outfit Dregg have just been signed with Epitaph Records. When it comes to punk music there is no bigger label than Epitaph and Dregg become just the third Australian act to be signed to the genre leaders. The honour of such a signing is something that is not lost on frontman Chris Mackeritch.

“Basically this all started when we performed at Bigsound,” says Mackeritch when I ask him how the journey with Epitaph began. “That was about six months ago. We got contacted by this random American dude who was like ‘I’ve checked out all your videos and I’m not really watching any other bands at Bigsound but I would love to come and check out you guys, do you have a booking agent or manager?’ and we were like ‘no.’”

“So he came down and we all went for dinner afterwards,” he says still explaining. “He was a really big fan of it and he put forward whether or not he could manage us guys and I have people back at home we could wall work together. To be honest we were a bit sceptical but we were like ‘cool, cool, cool – this will be interesting’ and then we went home and looked up the guys on the internet and found out that they were actually pretty big dogs in Hollywood – they had worked with really big acts like Talking Heads, Maroon 5 and shit like that. Turns out they were super interested in the band and they said they saw our vision and wanted to help us get there. One thing turned into another and Brett Greenberg from Epitaph Records got wind of it all, he phoned us up and then it all happened.”

When the initial contact happened though it wasn’t all party hats and streamers because Mackeritch admits that the band were not sure were to make of it. “We have a very strict rule here at Dregg,” he says laughing a little. “Don’t get excited about anything until it happens. So we remained really calm when it first came through. We tried to remain as calm as we could but at the same time we were like ‘okay this is serious’ but it wasn’t until we saw the contract and then we were like ‘okay, Epitaph literally just uploaded our video – this is really happening.’”

“I still think that it hasn’t set in for everybody,” he says continuing. “I still don’t think we realise what it means for such a massive label to take us on, we are just taking it day-by-day and are really grateful for it really… it is fucking wild really.”

Of course that leads to the inevitable question – now Dregg are signed to Epitaph what the hell happens next. ‘Well we look at like this,” he says laughing loudly. “It is 2020 and we will make an album when we are ready. We will write an album when we are ready but right now the world is very different – you can put out EPs, you can put out singles. Who knows we might put out an album next or we might do four singles in a row. We are really just playing it by ear because at the same time the world is in fucking lockdown so it is not really the best time to be putting out shit like that, but it is the time to be putting out music that is kind of one off stuff.”

That kind of thinking also leads straight into one of Dregg’s other passion. “We love making music but we also love doing videos,” Mackeritch explains. “But it is very difficult to make an entire album full of videos so we were are sticking to what we have always stuck to and that is that there is no plan. We just create whatever the fuck we feel like creating, it is kind of like what we are all seeing in the Soundcloud movement at the moment. Kids are just putting out whatever shit they want to put out – they are like ‘here I like this’ or ‘I wrote this on the weekend – here it is.’ That is what it is like now, the whole let’s work on an album for six months and then drop it is kind of the old way of doing things so we are trying to keep it fresh and do what young people are doing now and then we’ll just drop shit as we write it, drop shit as we produce it… and we have been given that freedom from Epitaph, they are just like ‘you guys can do whatever the hell you want because we can see the vision for it… we see that you are relevant… just go for it.”

So it may be a bit of a wait and see moment for Dregg fans, but whatever they produce next we just know that it is going to be epic.

 

It is pretty often that you hear the phrase ‘this is the album that will make or break a band’ or ‘this is the band’s rebirth.’ Normally it is a gross over-exaggeration but that certainly isn’t the case for Norwegian heavy metal band Kvelertak and their brand new album Splid.

Even out of the studio the band have gone through a rebirth over the past twelve months. Ivar Nikolaisen came on board as the band’s new vocalist while they also welcomed Havard Takle Ohr to the fold as their new drummer. The result is a very different sounding Kvelertak on Splid. The old punk sound has given way to a new heavy metal sound that at sometimes even borders on prog metal.

“We actually started the writing process for the album back in 2018,” says Nikolaisen when I get a chance to sit down and chat to him. “Our guitarist that we call DJ he said ‘okay this time I want to do a party album.’ You know a lot of short songs and every song would be a party hit punk rock style, but it didn’t end up that way. It is almost a proggy punk album now, that is how it ended.”

Chatting further to Nikolaisen about Splid and it becomes really obvious that the album ended up taking on a life of its own. “We were just jamming a lot in the rehearsal room and it ended up the way it did,” he explains. “It feels like the first six or seven songs of the album have a real party vibe and then it is a darker vibe on the last songs. There are like four songs that go for longer than seven minutes and the whole album ended up going for like an hour – so it is a pretty long album.”

The party vibe of the album seems to also be affected by a lot of the goings on in the world today, and it is there where the darker side of the album seems to take over. “Yeah it is a bit of a doomsday album,” says Nikolaisen agreeing with me when I ask whether the world around them influenced the album at all. “That is also one of the reasons why we called the album Splid which means kinda ‘discord’ in English. You know there are things in there about the climate, things that all nations are dealing with.”

Of course the other big factor that influenced the album were the comings and goings from the band and that certainly isn’t lost on them. “There were a lot of changes,” says Nikolaisen with a slight chuckle. “Of course I am the new singer and we have a new drummer and we have a new record label and we have a new booking agency and new management – with all of that it almost feels like a new start for us.”

While the changes are pleasantly obvious on the album, internally the transition of lead singers for Kvelertak has almost seemed seamless. “I’ve know these guys for thirteen years and I even did one song on their first album,” he explains as we begin to talk about how he felt coming into the band. “I did some guest vocals for them back then and since then every time they have been in my town I have done some guest vocals live as well. They also supported my old band when they first started out back in 2007 and 2008. So, I knew the guys and I mean it is just rock ‘n’ roll, it isn’t brain surgery, you know?”

“I know how to do it,” he says continuing to laugh. “Of course at the same time I was a little bit nervous because the fans knew the old singer and he was a really good singer. I was a really big fan of his and I didn’t want to copy what he was doing so I started to do my own thing. But really I am just doing what I have been doing for twenty years with other bands. But this is a little bit different because it is much bigger than anything I ever done before, I mean it is not that big but for me I have only been travelling around in small punk, hardcore and metal bands and playing for like 100 people right across Europe for the past twenty years, so that part is new for me. Like today we are playing in Hamburg and it has sold out and I’ve been to this city and played a lot in the last twenty years, but each of those times I think I played in front of perhaps twenty to two hundred people. So of course it is different, it is a little bit more professional, but I think what we have done so far has been really good, people are still coming to the show so I think they like me, and the band are really nice to me… so I think it works.”

 

Splid is out now.

 

 

When Scottish punk band The Exploited  arrive on our shores next week it will be an absolute miracle that they are here. I don’t use the word miracle in a form of journalistic shock either, it will be a true miracle as lead singer Wattie Buchan has had a number of heart attacks over the years including one in stage in Lisbon as the band performed alongside Hatebreed and Napalm Death. In Wattie’s own words it is a miracle that he is alive, let alone still touring to countries like Australian.

“When I got the phone call to ask if we wanted to do this tour it was really weird,” says Wattie in his think Scottish accent down the phone line. “It was really weird because just the day before I was just thinking that perhaps it was time we came back to Australia. Then when I got the call I was like ‘sure we would love to come back.’”

This year marks a huge celebration as it marks the 40th anniversary of a band that many believe brought back true punk in the 1980s. It was at the time when Sid Vicious was gone from The Sex Pistols and many believed that The Clash had gone mainstream. Then bang out of nowhere came The Exploited hailing from Scotland, a band who were ready to share with the world exactly what they were angry about.

I ask Wattie whether or not during the celebrations of this there fortieth year in the business if it has been a time of reflection for him and he says “Totally, totally. The last six years have been tough for me health wise. I’ve had all these heart attacks so I had to get myself healthy again so I could do gigs again. When you are twenty years old you think that two years is a long time, but when your band goes for forty years and still be successful is fucking unbelievable.”

“I’ve even be thinking that you never know this could be our last time,” he adds but with a now obvious hint of sadness in his voice. “This could well be our last time doing gigs in Australia, so this is a really big deal for me!”

When Wattie says he has bad health, he is not over-exaggerating and I am surprised at how easily he opens up to me to talk about it. “Over the past six years I think I have had five heart attacks,” he explains. “I had a pacemaker put in last year and a gastro-bypass done two years ago because I was really as fat as fuck. I’m not the lightest that I have been since I was 20 years old. I have had to do all of this so I can be fit enough to do gigs again. But I am fine now, I am in much better health and I am looking forward to doing these gigs. The last five years have been shit but now I am better.”

The thought of a pun world without The Exploited is almost too painful to imagine and despite Wattie saying that this could be the band’s last tour to Australia they are a band that is forever evolving. The new material that they have been working on is still there waiting to be released and the band recently signed a brand new guitar player.

“We’ve just got a new guitar player… our first in twenty years,” exclaims Wattie with all of the excitement returning back to his voice. “That means that we will be able to play a longer set. We had a German guy try out but he couldn’t get the songs proper so we tried a Scottish guy and he was okay. He was good at playing everything, the guy was good enough… if he wasn’t good enough then it would be simple we would get somebody else.”

As we discuss the fact that the band is still changing after forty years together Wattie admits that in the early days he would never have been able to fathom where the band would be at today. “I was always off my face on drugs,” he says openly. “For fucking thirty-four years I did drugs every single day. I never really thought about the things in the future because I was always so wasted but now when I look back I realise that we have achieved a lot and I know that lot of people appreciate what we have done. We’ve never changed the kind of music that we have done – it is just punk. We’ve never tried to change our music, we have never sold out, we have always stayed true to what we believe. People appreciate that and that makes me feel good.”

Wattie then laughs when I ask him what he feels has been the band’s greatest achievement over that forty years. “Still being here,” he says with a heartfelt laugh. “Actually I would say that our great achievement would probably be keeping punk music going for forty years. If it weren’t for us I think there are a few bands that wouldn’t be around these days. I think our music has also helped a lot of people through bad times and to me that means a lot.”

The Exploited are proof that punk is far from dead so make sure you catch them on their Australian tour which kicks off on the Gold Coast on March 18th.

 

 

“Thank goodness the music was so amazing.” That was what I found myself thinking as I drove away from Rod Laver Arena having just witnessed Tool live in concert – “thank goodness that the music was amazing.”

Now some people will probably read this and think – ‘oh he isn’t a real Tool fan.’ No, not the case at all. I spent many an hour at the battle zone that was known as my High School with my headphones on listening to my Undertow and AEnima cassettes (yes I am that old) on my Walkman (yes, again I am that old).

Now to get to my point – I was expecting something very different from the stock standard concert experience when I went to Tool last night, but I think I got something very different to even what I was expecting. The music was great… actually the music was brilliant… but for most of the night it felt that the band were disconnected from their audience and it seemed to show with the audience that was there.

When we filed it the stadium it was hard to miss the huge see-through curtain that completely covered the front of the stage. As Adam Jones and Justin Chancellor strolled onto the stage and started an eerie opening to ‘Fear Inoculum’ the curtain remained… no problem it added to the atmosphere of the drawn out prog we were listening to. Then Danny Carey began his work and still the curtain remained, then came the man himself Maynard James Keenan but the curtain remained, then it remained for songs like ‘AEnema,’ ‘The Patient’ and ‘Parabola.’

Maybe it was just for me but with the curtain down for so long it felt like I was disconnected from the band. I was loving the music but at the same time I was getting that connection with the band that I normally get when watching a live show. I loved watching the images that was being able to be projected onto the curtain but I think I would trade that any day of the week for that connection that I love so much. Adding to that was the fact that Keenan was positioned at the back of the stage, even further back than the drums, and normally not lit up. On one hand I like the ‘voice from the dark’ concept as it puts the focus on the rest of the band and not just the singer but at the same time it also made me feel a little off.

On the night someone defended it by saying ‘that’s just Tool they hate the scene.’ I can accept that but at the same time they enjoy the scene enough to take the cash of the people turning up to watching the show. And I don’t think I was the only one feeling the disconnection as people from our row seemed to be constantly getting up to take toilet breaks and grab more drinks, I think I stood up for people more times last night then I did in a whole year of shows at Rod Laver last year. Oh and you should have heard the roar from the audience when the damn curtain was finally raised.

Okay, that is the negative out of the way – now let’s get to the positives. Tool was bloody amazing!!! Musically, this is a band at the top of their game. There were times last night when I closed my eyes and let the music just carry me off as Jones and Chancellor’s magic figures delivered amazing pieces of music that shows why Tool are one of the greats. As they mixed and matched what they did along with some very experimental work from Carey on tracks like ‘Chocolate Chip Trip.’ I realised that when it comes to prog Tool are well and truly up there with the greats of the genre like The Butterfly Effect and Pink Floyd.

Aside from that proggy style that I love so much nobody matches Tool when they get to their more gritty music either. That guttural bass of Chancellor takes over and it is like the crowd goes into a trance as the amazing light and visual show combine to go to a whole new level. Add that to the crowd reaction to a track like ‘Stinkfist’ and yes despite some of the negatives something magical happened last night.

I know it sounds weird to say that last night was a great concert after I whined about some negatives, but believe me it was. Trust me if the music hadn’t been so out of this world I would have left in a bad mood due to the amount of sitting and standing thanks to the weak bladders in my row, but that certainly wasn’t the case – instead I left in awe of a band that made my teenage years bearable… thanks guys.