I was looking forward to this show all month. The Ocean is one of my favorite bands; no one matches them in mixing together heavy and beautiful to explore the transcendental aspects of the universe. A month or two ago I also fell in love with Scale the Summit (and with their album artwork). I checked out The Atlas Moth a few days before the show and was looking forward to them, too. Silver Snakes didn't really do it for me, though - I couldn't take the metalcore vocals.
I headed out a bit late, driving through DC was slow, and it took a while to find parking (and to walk the 5 blocks from where I parked to the venue), so by the time I got there it was after The Atlas Moth's originally slated set time and I thought I had missed them. A few sort of metal looking people were hanging out in the downstairs bar. I headed upstairs to find that The Atlas Moth was actually just about to go on - everything had been pushed back about 40 minutes.
It was already very crowded (the show was sold out) so I ended up standing way in the back, by the merch table in the corridor from the stairs to the floor, and with lots of tall people in front of me, I couldn't see much. As awesome as it was that a band like The Ocean was playing this little venue, the sucky thing about the little stage in the corner set-up is that when it's crowded, you can't see anything unless you're right at the front. There was a TV screen right by where I was standing, so at least I was able to see the band in miniature.
The Atlas Moth launched into their churning, atmospheric riffs, and I found them surprisingly loud and clear for such a small venue. The guitar melodies and vocals were clearly discernible (even if the screamed vocals were indecipherable anyway). The loveliest atmospheric parts had a trance-inducing effect similar to Alcest's music, although much of the music was just layers of slow and heavy - a sludge band that took it into their heads to make music of beauty and whimsy. They didn't blow me away but were certainly as enjoyable as I expected.
After The Atlas Moth finished, I gave The Ocean a bunch of money (they were selling CD's at 2 for $20, which seemed like a pretty good deal). I had intended to give into the hipster vibe and get a shirt from Scale the Summit if they had one with (last year's album) The Migration artwork - but the ones they had didn't use the green and blue colors that I love so much on that album cover.
It was definitely a very hipster evening, with plenty of bearded dudes and barely a 5% score on the Long Haired Dudes Scale of Metalness (inspired by my friend S, who was not there - he wouldn't have been able to handle the hipsters). The short-haired headbanging for The Ocean was an interesting sight - it made it look a lot more like some kind of cult religious experience. I'm not even sure any members of any of the bands had long hair; a bit disappointing, as I love to stare at guys with long hair holding guitars.
I claimed a spot in the center of the floor, and eventually the instrumental band Scale the Summit came on. They started out a bit thin and quiet, and also the lights were still turned on above the stage, making them look rather sterile. But as soon as they launched into the faster section of the song - I think it was "Dark Horse" - they got much heavier, and the lights went out. Considering their very melodic sound, I was surprised by the way they thundered. There were actually relatively few slow, quiet segments, and quite a bit of fast, furious playing. I also hadn't realized that they were apparently co-headlining with The Ocean, because they must have played for about an hour. I felt like they played a lot from The Migration, but I'm not great at naming their songs, so it may just be that I listened to that album too much :P
Finally Germany's massive progressive metal project The Ocean took the stage, under blue lighting that did give them a rather underwater look. They played (their 2013 album) Pelagial in its entirety, which was a pretty epic experience. I knew (thanks to their comments last summer about the Summer Slaughter tour) that The Ocean considers themselves a very extreme extreme metal band, but considering how profound and often beautiful their music is, I couldn't really see them as extreme - until this show. When the crowd suddenly got going at the start of "Bathyalpelagic II: The Wish in Dreams" and the whole front half of the floor turned into a furious pit, I was like, oh shit - they were right, this is ****king extreme! It was pretty amazing, and the bouncy pit for the fast part of "Bathyalpelagic III: Disequilibrated" looked like so much fun, I wished I didn't have so much stuff with me so I could join in, even though I'd probably get broken in half. The crowd kind of calmed down after that and there wasn't much moshing for the rest of the show, but still, it set the tone. The other highlight was probably the singer crowd-surfing - while singing - during the encore. As far as sound, it was also amazing. The quieter parts, which evoke the ocean with sounds of bubbles, flowing melodies or long floating tones, sounded even more watery due to the resonance of the live playing, and the heavy parts were crushing. There was something odd about the screamed vocals at times - they seemed perhaps higher and rawer than on the album - and there was one segment where the drums seemed out of sync with the guitars and it was very jarring, but now I can't remember which song it was in. Overall, it was a phenomenal experience. I only regret I was so tired by the end I was practically passing out, awesome music notwithstanding :/
So the show was about as awesome as I expected. I am so glad that not only did I get to see The Ocean, but got to see them up close and personal, and got to see them really tear the place up, at a venue that small. Wow.
Next show: Combichrist on Apr 4.
Showing posts with label instrumental. Show all posts
Showing posts with label instrumental. Show all posts
Friday, March 28, 2014
Saturday, September 7, 2013
Concert Review - Kamelot, Delain, Eklipse - 8/3/2013 at Soundstage, Baltimore, MD
Kamelot is a show not to be missed in my book, not only because they're one of the best power metal bands still playing power metal nowadays, but because they're a special band to me and S. For whatever reason, we connect deeply over their music - probably for the same reasons they're one of the best power metal bands - they're melodic, epic, have powerful storytelling lyrics and fantastic delivery. They've always been great when we've seen them live. This time, we were worried about the sound, though. Soundstage has been plagued with sound problems the past two times we've been there - there were complaints both for Wintersun and parts of Paganfest. So, we had our metal horns crossed hoping Kamelot would prove the exception.
As we were walking up to the venue, we saw our friend D standing outside talking to a tall lady with bright blue hair. She shook hands with us and introduced herself as "Alyssa," and then she and D went into the venue. As we walked off toward a nearby beer garden to wait out the line, I turned to S and said, "Was that really her? Did we just shake hands with Alyssa White-Gluz?!" And he said, "Yeah, I think so. I guess we know who Kamelot's back-up singer is now!" :D
In contrast to previous shows, I was not very familiar with the openers this time. Kamelot's huge discography along with internet problems at work colluded to keep me from having a chance to listen to Eklipse or Delain in the weeks leading up to the show. Prior to the show, all I knew about Eklipse was that S called them "the female Apocalyptica," so I was imagining something with cellos, and metal song covers played with such intensity that it would look like the strings were in danger of being torn from the instruments. They weren't quite that - they were more of an electric string quartet, clad in gothic outfits - black lace, masks, a jaunty hat - playing sweeping or catchy music with panache, but not quite the violence of Apocalyptica. They started out with a few original compositions, and then played covers, which included "You Spin Me Round" and "Sweet Dreams." Although the covers were more welcomed by most of the audience - honestly, their whole set was exceedingly well received, with cheers even for their original songs - I preferred their original compositions. Perhaps I would have felt differently if they had covered metal songs rather than pop and rock songs. I also wondered what they would sound like without their backing track of drums and, I believe, some symphonics. The backing track certainly added to the intensity of their most sweeping moments, but surely the aching beauty of string instruments can achieve intensity all on its own?
All I knew of Delain, meanwhile, was their genre (female-fronted gothic-symphonic metal) and that I had a song or two of theirs in my novel's soundtrack. As far as all those female-fronted bands, they never really stood out to me - so I was pleasantly surprised by how good they were live. In particular, the guitar was much stronger than I'd expected - the first song started off with a raging riff, and there were more of those to follow, as well as spectacular solos. Charlotte Wessels's vocals, meanwhile, were just average, but what they lacked in virtuosity, they made up for in variety - ranging from a rocking alto, to a soaring soprano, and of course, the occasional piercing operatic vocals. I cut my teeth on Nightwish, so I have pretty high standards for operatic vocals in metal - Ms. Wessels's weren't exceptional, but they were good enough, and she only pulled them out for a few choruses. Overall, their performance was marked by variety - from sweeping symphonic metal numbers with forceful riffs and powerful vocals, to more rock or electropop-like songs that cut the intensity back a notch. Still, I enjoyed their set - things were energetic and catchy enough to get me headbanging and jumping along with the rest of the crowd.
Finally, the long-awaited Kamelot emerged. They began with a song from Silverthorn, which I'm not as familiar with, and then they launched into "Ghost Opera," one of my favorites. The crowd was really moving for the first couple songs - I believe there was a pit for both songs. A real pit, for Kamelot! That's the first time I've seen that. At first, something was wrong with the sound - the drums were way too loud, so that it sounded like just drums and vocals, the guitars barely audible. Luckily, that problem was fixed by the second song, and they sounded amazing for the rest of the night. As we were expecting, Alyssa White-Gluz of The Agonist emerged to provide female vocals, as well as harsh vocals in "Sacrimony" and "March of Mephisto," and Tommy Karevik's vocals were spot on.
Last time we saw Kamelot, Tommy was brand new to the band, and S and I were both happy with his performance. I think he fills Roy's shoes pretty well - he is able to emulate Roy's sound, and he even looks a bit similar. Of course it's good for a performer to have their own personal sound and style, but for a band of Kamelot's standing, some continuity is good - in order to be able to keep playing all their awesome older songs, for example. The audience seemed to like Tommy as well - chanting his name at one point, which he said gave him goosebumps, and then added that he was glad he'd taken English classes XD
Speaking of old songs, they didn't pull out any real deep cuts, but pretty much alternated songs from their latest release, Silverthorn, with their classics like "Ghost Opera," "Center of the Universe," and "Karma." Although S griped about the lack of deep cuts, I was content with their setlist since they played the three songs I really wanted to hear: "Center of the Universe" (which inspired the third and last pit of the set, and also the biggest and craziest one, started by none other than my dear S), "Eden Echo" and "Forever." I always forget what a fast and intense song "Forever" is, considering the romantic lyrics. I was least thrilled with the choice to include "Song for Jolee," which I find one of the weakest songs on Silverthorn, but it did showcase Tommy's vocal chops quite nicely.
So when we stumbled out of the venue, sweaty and tired, I was quite satisfied. Kamelot had put on yet another magnificent show, which had (for the most part) not been ruined by sound problems, and the openers had been more entertaining than I'd expected. A good night, and a highly recommended show for anyone who likes their metal on the melodic or symphonic side of the continuum.
Next show: Anathema and Alcest, 9/13. So excited...in a, you know, quiet and peaceful way.
As we were walking up to the venue, we saw our friend D standing outside talking to a tall lady with bright blue hair. She shook hands with us and introduced herself as "Alyssa," and then she and D went into the venue. As we walked off toward a nearby beer garden to wait out the line, I turned to S and said, "Was that really her? Did we just shake hands with Alyssa White-Gluz?!" And he said, "Yeah, I think so. I guess we know who Kamelot's back-up singer is now!" :D
In contrast to previous shows, I was not very familiar with the openers this time. Kamelot's huge discography along with internet problems at work colluded to keep me from having a chance to listen to Eklipse or Delain in the weeks leading up to the show. Prior to the show, all I knew about Eklipse was that S called them "the female Apocalyptica," so I was imagining something with cellos, and metal song covers played with such intensity that it would look like the strings were in danger of being torn from the instruments. They weren't quite that - they were more of an electric string quartet, clad in gothic outfits - black lace, masks, a jaunty hat - playing sweeping or catchy music with panache, but not quite the violence of Apocalyptica. They started out with a few original compositions, and then played covers, which included "You Spin Me Round" and "Sweet Dreams." Although the covers were more welcomed by most of the audience - honestly, their whole set was exceedingly well received, with cheers even for their original songs - I preferred their original compositions. Perhaps I would have felt differently if they had covered metal songs rather than pop and rock songs. I also wondered what they would sound like without their backing track of drums and, I believe, some symphonics. The backing track certainly added to the intensity of their most sweeping moments, but surely the aching beauty of string instruments can achieve intensity all on its own?
All I knew of Delain, meanwhile, was their genre (female-fronted gothic-symphonic metal) and that I had a song or two of theirs in my novel's soundtrack. As far as all those female-fronted bands, they never really stood out to me - so I was pleasantly surprised by how good they were live. In particular, the guitar was much stronger than I'd expected - the first song started off with a raging riff, and there were more of those to follow, as well as spectacular solos. Charlotte Wessels's vocals, meanwhile, were just average, but what they lacked in virtuosity, they made up for in variety - ranging from a rocking alto, to a soaring soprano, and of course, the occasional piercing operatic vocals. I cut my teeth on Nightwish, so I have pretty high standards for operatic vocals in metal - Ms. Wessels's weren't exceptional, but they were good enough, and she only pulled them out for a few choruses. Overall, their performance was marked by variety - from sweeping symphonic metal numbers with forceful riffs and powerful vocals, to more rock or electropop-like songs that cut the intensity back a notch. Still, I enjoyed their set - things were energetic and catchy enough to get me headbanging and jumping along with the rest of the crowd.
Finally, the long-awaited Kamelot emerged. They began with a song from Silverthorn, which I'm not as familiar with, and then they launched into "Ghost Opera," one of my favorites. The crowd was really moving for the first couple songs - I believe there was a pit for both songs. A real pit, for Kamelot! That's the first time I've seen that. At first, something was wrong with the sound - the drums were way too loud, so that it sounded like just drums and vocals, the guitars barely audible. Luckily, that problem was fixed by the second song, and they sounded amazing for the rest of the night. As we were expecting, Alyssa White-Gluz of The Agonist emerged to provide female vocals, as well as harsh vocals in "Sacrimony" and "March of Mephisto," and Tommy Karevik's vocals were spot on.
Last time we saw Kamelot, Tommy was brand new to the band, and S and I were both happy with his performance. I think he fills Roy's shoes pretty well - he is able to emulate Roy's sound, and he even looks a bit similar. Of course it's good for a performer to have their own personal sound and style, but for a band of Kamelot's standing, some continuity is good - in order to be able to keep playing all their awesome older songs, for example. The audience seemed to like Tommy as well - chanting his name at one point, which he said gave him goosebumps, and then added that he was glad he'd taken English classes XD
Speaking of old songs, they didn't pull out any real deep cuts, but pretty much alternated songs from their latest release, Silverthorn, with their classics like "Ghost Opera," "Center of the Universe," and "Karma." Although S griped about the lack of deep cuts, I was content with their setlist since they played the three songs I really wanted to hear: "Center of the Universe" (which inspired the third and last pit of the set, and also the biggest and craziest one, started by none other than my dear S), "Eden Echo" and "Forever." I always forget what a fast and intense song "Forever" is, considering the romantic lyrics. I was least thrilled with the choice to include "Song for Jolee," which I find one of the weakest songs on Silverthorn, but it did showcase Tommy's vocal chops quite nicely.
So when we stumbled out of the venue, sweaty and tired, I was quite satisfied. Kamelot had put on yet another magnificent show, which had (for the most part) not been ruined by sound problems, and the openers had been more entertaining than I'd expected. A good night, and a highly recommended show for anyone who likes their metal on the melodic or symphonic side of the continuum.
Next show: Anathema and Alcest, 9/13. So excited...in a, you know, quiet and peaceful way.
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