The Traveller's Rest, Lincoln
31 August 2007
Review by Dane
It had been some time since I'd been to the Travellers Rest. Perhaps because it's the furthest music venue away from me, perhaps because I find a lot of Lincoln's 'heavier' bands to be fairly linear and uninspiring of recent. Regardless of why or why not, I decided it was time to get my ass back over there upon hearing of the most solid Bravekid lineup in a while, hoping my faith in Lincoln's heavier scene would be increased.
Things kicked off with local hardcore heroes Passing Of A Thousand Hearts. Back with a new lineup (featuring Matt Colwell of The Infested on drums, Dave Hinmann and Matt Hendry on guitar [choosing to remain without a bassist] and original members Danny McKrill and Phil Prockter on vocals), a new set and apparently a new direction in sound, the speculation was highly evident.
Starting off with a clean guitar intro and Danny exhibiting his now trademark frontmanship, parading up and down the pit like he'd never left it, it wasn't long before the five exploded into the most epic riff this side of Isis and Devil Sold His Soul, already daring to
challenge our expectations of Lincoln's original hardcore band. After this short introductory burst of drone the audience are encouraged to move closer and get more intimate with what the band had been working on these past months. Then they then went straight head first into their second song, this time more of a metal onslaught in the vein of Darkest Hour and Abigail Williams than what we were familiar with prior to the band's reformation, which I personally respected and thought to be a very wise move as opposed to sticking to the same formula that so many bands abide by these days.
Halfway through the song and Danny asks exactly what I'm thinking - "Why are you all standing there?!" Although apparently enjoying what they were hearing, the majority of the crowd were static. Here was the band that had initiated several walls of death and human pyramids in their time, yet tonight the audience had less life in them than an antiques shop (at this point I should point out that things hardly picked up as things progressed, thus the mediocre reaction was not exclusive to this band).
However, Passing didn't let this phase them, and on they went with the set into an utterly punishing song that I sadly can't remember the name of (upon looking at my notes all I can see is '3RD SONG - AMAZING') before informing the fans of the newly available t-shirts, which will no doubt find their way into our wardrobes in the weeks to come.
It was soon after that the band's set came to a close nearly as soon as it had began - more than likely a wiser way of doing things in the long run (quality over quantity and all that). Closing with a black metal-esque epic that manages to provoke some pretty intense moshpits, Danny eventually leaves the stage and heads to the toilet leaving Phil screaming his unique death-growl into a wall of feedback and eventually, silence. While I can't speak for everybody, I was definitely impressed by Passing Of A Thousand Hearts' decision to break new boundaries and look forward to what else they have to offer us in the future.
Next up, another bunch of noisy Lincoln lads in the form of technical metallers Spatch...?, a band who I was quite excited about seeing.
Considering quite a few local bands plain and simply can't be arsed to go beyond the old verse-chorus-verse-chorus formula, I was highly interested to see the results when one comes along and exercises the patience and dedication to write something so complex that it's almost mathematic.
And without the slightest bit of exaggeration, Spatch...? demonstrated musical complexity that was, well, algebraic. Despite there being only three members tonight due to the second guitarist still being in training, the band kicked up quite a noise nonetheless. Combining incredibly fast paced SikTh-like guitar work and some pretty obsure drumming and time signatures remniscent of Meshuggah's Tomas Haake, they succeed in crafting something that is musically intelligent as it is intense, provoking a fair few slampits on the way (yet still not nearly enough engagement on behalf of the audience). The breakdown infested song 'Jazz Tits' was a particular favourite of mine, demonstrating some tight-as-(insert animal and any given orifice here) musicianship and the band's apparent ability to share the same brain.
Although Spatch...? (temporarily) feature only three members as stated before, this could prove an advantage in the long run as less members means less time and effort spent on trivial things, which I can guess is vital to a band of such technical wizardry. Upon the inevitable end of their set, I realised that the band should be respected simply for the fact that they are universally respectable, for their way of complicating what most will simplify - whether it be to fans of Norma Jean or Wyclef Jean.
From one collective of musical geniuses to another - Rolo Tomassi take to the stage. After the crowd get closer upon the band's polite request, the band hurtle into 'Digital History', the intro of which baffles me every time (I've talked enough about complex song writing for
one review so I'm not going to explain why). Yet again the audience are incessantly lifeless, but this doesn't seem to affect Tomassi's energy even slightly. Armed with a scream most fully grown men would be jealous of in addition to absolutely unlimited energy, vocalist Eva
shows the Travellers Rest just why she and the rest of the Sheffield based art-rock quintet (guitarist Joe, drummer Edward, bassist Joe and keyboardist James) have reached the heights they have.
Halfway through the second song and tragedy strikes - guitarist Joe snaps a string. Quick as a flash and professional as hell, he overcomes every guitarist's nightmare with ease whilst the rest of the band plow through another song and continue to play through a short instrumentalisation until the problem is resolved. And thank god - just in time for the infectiously bouncy 'Cirque du Funk' followed by an older tune 'Rock The Pleasantries Let's Fuck', complete with mesmerising jazz ending and Eva's captivating clean vocals. Sure she was
screaming her head off just a second ago, but that doesn't mean she can't have a beautiful singing voice. At only four songs in, this was already a genre free-for-all.
Continuing with the consistent energy, the Chariot-esque guitar swinging and keyboardist James' erratic barefoot dancing, we soon hear a new offering, feauturing a schizophrenic quiet-loud-slow-fast structure comparable to Genghis Tron and a ridiculously funky jazz bridge. This new song (of which the name sadly eludes me) could well have been their best song this evening - that is if Film Noir wasn't next.
Perhaps the band's most famous song to date, it was at this point - close to the end of the set - that the audience finally seemed to become more engaged. And the momentum didn't drop either - by the end of their epic closer 'Curby' the crowd had given Rolo Tomassi what they owed them. "If anyone came to dance then this is your chance as this is the only breakdown in our set", announces James. And when it hits it becomes apparent that people DID come to dance, they just needed a little persuasion. Or maybe a breakdown.
After the exciting rollercoaster ride that was the third time I'd seen these guys play (and I can assure they've been very different each time), the crowd demand more, evidently wanting to keep the sudden burst of energy intact. Too late however, and the band are gone, telling us to stick around for the next band.
And for once, everyone listens. Too many times have I been to (and played) these kind of gigs where people lack the patience to stay the whole night, leaving only a handful of people in attendance by the end. FOrtunately this wasn't the case for tonight's headliners, Barnsley's
noisiest thrash outfit Errander. And it wasn't hard to see why, either.
Launching into their set with unbelievably frantic energy, it was a shame that when frontman Ryan made to begin his vocal onslaught that the microphone wasn't working. However, with some assistance from Passing Of A Thousand Hearts' Danny and a great deal of patience, the problem was finally overcome and the band's formiddable sound was complete.
Mixing elements of hardcore found in bands such as Converge and early Cave-In and showcasing an unrelenting stage energy that should now be the default for bands of the genre, Errander are the kind of band that need not rely on breakdowns and chug chug riffs every thirty seconds in order to immerse the audience into their sound. Provoking human pyramids early in their set and hurtling through the catastrophic 'Glory Grabbers Unite' and 'Kill The Anticipation' taken from their 2007 release 'The Need To Know', we all witness the sheer power and ferocity that has landed Errander slots with such bands as Daughters and Send More Paramedics.
Stamina is certainly not lacking in the band either. Bassist Rik runs around the stage as if chased by an invisible foe, whilst drummer Jason (with his kit unusually facing stage right) blasts out beats Ben Koller himself would approve of. Several more brutal compositions and moshpits later and the band are finished, as is the night.
And despite a mysteriously predominantly inactive audience and a few technical niggles, my faith in heavy local music was left intact and my ears left ringing. A good sign, then.
Dane
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