Live Review: Pentagram / The Order of Israel & Mower @ Sound Control, Manchester, 15/11/2015

By: Phil Weller 

 “Bear in mind that there’s a scene now,” Cathedral vocalist and Rise Above Records founder Lee Dorrian recently mused to me, reflecting on his band’s humble beginnings. “When Cathedral started there was Candlemass – and Trouble if you looked deeper – but there was only a handful of people around the world that actually listened to this type of music. Now it’s a recognised thing and it has a whole scene around it. It’s a genre in its own right with about 40 different sub genres, it’s a lot more recognised than it was.”

Indeed, if it weren’t for Pentagram, the case for argument that doom wouldn’t even be a thing at all is as strong as an ox on steroids. The fact that The Sludgelord itself exists is credence to Dorrian’s comments on the movement’s expansion, on the fact it is now exactly that, a movement. Yet, I’m in two minds whether Pentagram’s headline show in Manchester tonight, in support of their eighth album, ‘Curious Volume’, should have happened.

Put bluntly, Bobby Liebling, a legend though he may be, ain’t no spring chicken anymore. He’s old, haggard, frail and looking more like Golem than an untouchable Rock God. He heavily relies on his microphone stand to keep him upright, his knees always seeming on the verge of buckling. He tries to dance seductively – but a 61 year old’s hairy nipple protruding from a half buttoned up gold shirt is not want I want to see. Ever. Mid-set someone in the audience yells the million dollar question of “how are you still alive?” Everyone laughs, I do too, but I laugh with an air of discomfort. How is he still alive? I spent the set terrified he’d keel over and die at any moment, it was painful.

On the other hand however, you have to admire his balls – but not see them, good god no! At least he didn’t go that far. He could be at home with his feet up having a nice cup of cocoa by the fire and reading Oprah’s book of the week. But no, he’s still at it, making new music with his cohorts and getting out across the world letting people hear it live and in the flesh. As for the dancing and sickening eroticism, my friend strikes upon a point: “That’s what it would have been like seeing them in the 80s.” So yeah, they may not be particularly aging gracefully, but this is authentic Pentagram and it is definitely an honour to witness such a vital band strut their stuff.

Musically they are reasonably strong. It’s nothing mind blowing, but Victor Griffin has some impressive riffs and lead work in his arsenal. Back in the band as part of his continuous yo-yoing in and out of the quartet, he’s the real torchbearer tonight, giving the band some fire and sharpness. The explosions of opener ‘Death Row,’ met with huge cheers, are impressive. But it’s more the weight of their import and gravitas than the performance itself that makes it – you know that once upon a time this was a band capable of giving much, much more.

Elsewhere, described by that same friend as “Misfits with perms” Sweden’s The Order of Israel, one of two support acts, had helped make the night a little more memorable. Blending NWOBHM jaunts, classic rock sensibilities (so many harmonies) and a doom rock gloom, tying it all up in a bow that is resolutely Scandinavian, there is plenty to get into here. Imagine the lovechild of Ozzy Osbourne and Mikael Akerfeldt fronting a band that manages to bring to mind Danzig, Judas Priest and Pentagram themselves across the same song. Those harmonies are an integral bedrock to their sound and it adds a gracefulness that flirts with the darker, doomier aesthetics of the band. It’s hard to decipher whether what they do has an element of cheese or charm to it, but regardless they produce an enjoyable set with plenty of energy and moments which has the crowd nodding in appreciation.  

Yet, the show is stolen, in one hell of a smash and grab, by the local support. Manchester’s Mower is simply incredible. Still seeing themselves as the “new boys” on the scene – especially in a city already rife with doomy goodness – you could forgive them for being nervous. They’re supporting their idols and, with no recorded music out there yet, are still proving themselves to the masses. Under the dim spotlights of Sound Control however, they don’t just grab the bull by the horns but they kill, gut and eat the fucker too.

A three piece consisting of a guitarist, vocalist and drummer, listening to them, you couldn’t even imagine there being a bassist. The guitar tone manages to perform something of a miracle in creating enough low end to fill the void that a bassist would otherwise – and simultaneously cure any constipation suffers  in the room – while maintaining a pinpoint clarity that bolster’s the presence and intricacies of his riffs.

JJ is a hilarious frontman, slapping his slightly obtuse (beer) belly and acting like a bit of a nutter all round. His growls are gigantean and fierce though, a really prestigious forcefulness to them that swallow you whole. Visually they are just as compelling for it.

The youngest and hungriest band on the bill, they give it everything they have and more. The passion and heart they play with is clear to see. So many of the local scene is here to support them too. Getting John Nicholson of Pist to leave the pub for half 7 is an achievement in itself, but in all it shows the admiration people have for them already.

Pentagram may be fading out with age, but without them there wouldn’t be youthful and devastatingly entertaining bands like Mower in existence. It’s time to pass the torch, but thanks to the Virginian hell bringers, they’re spoilt for choice for whom to pass it to.



Live Review: Eyehategod, Siege Mentality, Nomad @ Sound Control, Manchester (UK) 26 June 2015

A cornerstone for so much music that found solace, inspiration and genius in the sludge infested grumblings of their music, EyeHateGod arrive in Manchester to something of a hero’s welcome. The weightiness of tonight’s event has only been intensified with the news that local boys Nomad would be opening the show. It’s a once in a lifetime chance to share the stage with their idols, one of a plethora of local bands here tonight who would have loved the very same slot, such is the love this city has for the New Orleans noisemakers. From Ten Foot Wizard to Arke, Pist and beyond, so many local bands are here tonight, a family atmosphere beckoning within Sound Control’s sweaty confines.

Outside before the show, Manchester’s ‘rock quarter’ was overflowing with familiar faces, the entire metal community out in force it seemed. They soon filter inside however to witness a momentous moment for Nomad. The hypnotic, almost meditative slow and sludgy doom of Nomad is lapped up lovingly, the guitar and bass tones treacle-thick, although that muddiness doesn't always translate the riffs onto stage too well, a distinct air of clarity often lacking. But longer, more explorative numbers like the set-closer ‘Corpse Dragger’ pull me into a dark, contemplative state of mind in which I dwell with a smile.  It's been eight months since their last Manchester show and so plenty of people have turned out to welcome them back onto home turf; the energy and receptiveness of the crowd and the band's tightness and all round powerful professionalism effervescent. 

Atop those sludgy tones and Hayley McIntyre's plodding yet pounding drum work is a vocal style that is rasping and harsh, sounding more akin to terribly produced, tinny black metal albums in a way. But it works and it's given them a real sense of defining character. The musicianship isn't technical, but it's alluring and it captures you. A band I've seen plenty of times now, they always deliver with a cocky swagger, vocalist Nash very much the Phil Anselmo lovable dick style leader of the pack. It's a faultless set, that aforementioned set closer particularly brutal and memorable.

Siege Mentality is a surprise package for this bill. Now I love variety and I wholeheartedly promote the avoidance of linearity of bills - why not throw a fast and punk driven heavy arse band onto a line up which resolutely follows the whole 'tune low, play slow' methodology?, it's fun. But tonight it doesn't land on my ear drums all too comfortably. Between songs there is no crowd interaction, just quiet and awkward pauses; their wildcard aesthetics not quite gelling with the majority of the crowd. They do no work in giving off a sense of their personality, of who the people behind the music are to win us over either. There are some whose heads rage about in a whirl of hair and excitement, trying their damnedest not to spill overpriced beer from their plastic cups. There are some who enjoy it, who really dig it, but the bigger picture doesn't particularly look fantastic for a band bellowing at a slightly leftfield demographic as far as their musical philosophy is concerned.

So here I stand, chants of "EyeHateGod" reverberating around the room, fists pumping in unison. Here I stand surrounded by happiness, by people having a ball and a biscuit seeing a much admired band make light work of a crushing show.  The band is on fine form, those chunky riffs harmonised and sounding so organically powerful, so truthful. This is an act that makes the noise that makes sense to them, the musical channelling of their souls.

  

While EyeHateGod play with passion and a complete and utter lack of quarter, the circle pit opens and the crowd get lost in the jams of ‘30$ Bag’ and ‘Dixie Whiskey,’ both messier than a 14 year old’s bedroom and in the best possible way. I hear the band, I hear how tight they are and I can see they're going down a storm - like heroin in rehab - there's a real sense of occasion in the air tonight. What’s truly amazing is that, live, in the flesh, these songs don’t just sound like merciless metallic slabs to get down and lose your shit too. They sound heavy through their importance and individualism too. If you were to speak to everyone here in the crowd, they’ll be able to tell you a personal story, or about a good memory in which these guttural tones, like during a brilliant ‘Take As Needed For Pain’ have played a key role. It’s mystifying. 

It was a killer night; three bands giving it their all, with the headline act oozing class and a polished, professional brilliance.

Long live EyeHateGod.

Words: Phil Weller

Live Review: Satyricon / Oslo Faenskap / Vredehammer @ Manchester Sound Control. Tuesday 7th April 2015

The opening to the nights gig was very strange. The doors to the venue opened however the room where the gig was happening wasn’t open. Vredehammer and Oslo Faenskap seemingly had their times limited. Vredehammer were limited to two songs and Oslo Faenskap also played a short set that wasn’t much longer. This was unfortunate as Vredehammer barely got going and Oslo Faenskap suffered the same fate. As far as critiquing the two bands go, it would be unfair to offer judgement. Vredehammer’s two songs were very much in the black metal vein, whereas Oslo Faenskap offered up a cluttered mix of death, black and sludge metal with plenty of breakdowns and growled vocals.

Satyricon by contrast played one of the longest sets I have ever witnessed from a black metal band. The band strode onto stage and immediately ripped through 'The Rite of our Cross'. It was the first of several tracks from 2006’s 'Now, Diabolical'. Another early cut from the same album was the title track. Immediately, the crowd were firmly in Satyr’s palm as the crowd balled back the chorus with great vigour.

The stage at Manchester Sound Control is quite small; it was made an even smaller space due to the size of Frost’s monstrous drum kit. Throughout the bands epic set, the reason why Frost is revered as one of the best drummers ever was clearly evident. The early blasts of Satyricon’s more purist black metal sound were summed up by the ferocious battery of the drums. 'Walk The Path of Sorrow', 'Du Som Hater God' and 'The Dawn of a New Age' are great reminders of what a great black metal band Satyricon is.

Although Satyricon’s roots are firmly embedded in true Norwegian Black Metal, in recent years, the bands direction has had more hard rock elements mixed in with the truer black metal sound. Every selection (of which there were plenty) from 'Volcano', 'Now, Diabolical' and 'The Age of Nero' were received emphatically. 'Black Crow on a Tombstone' was another early highlight along with the aforementioned 'Now, Diabolical'. The repetitive riffs and hypnotic drumming was a joy to hear. Along with the harder rock sound, the band layered choral and orchestral elements over many of their songs.

With the lengthy set drawing to a close, the band chose to air some unreleased material which was essentially a jam. According to the band, the recordings will see the light of day in the next year or so. Another selection that raised an eyebrow or two was the bands inclusion of a cover of Dead Kennedy’s 'Holiday In Cambodia'. Again, this was potentially a part of a future release.

If the newer material made the set lag a little towards the end, a main set closer of 'Mother North' riled the crowd again, before a heroic encore consisting of the darkly euphoric 'Fuel for Hatred', and the sublime 'K.I.N.G'.

Sometimes longer sets aren’t always the best thing to satisfy a crowd. A little lull in parts of the bands 130 minute set showed this. Nevertheless, when you have tracks that are instant crowd pleasers, and a presence that is up there with the best, Satyricon pulled it off. Satyricon are a constantly ambitious band, and their set showed this.

Words by: Dominic Walsh

Live Review: Primordial / Winterfylleth / Malthusian @ Sound Control, Manchester. 6th February 2015

With Primordial and Winterfylleth both releasing new albums in 2014, it was a great thing to see two bands like this on the same bill, to share material from their latest releases. Having shared the bill in Manchester several years prior to this run of gigs, the veterans Primordial released another in a long line of stiring albums with 'Where Greater Men Have Fallen'; whereas Winterfylleth released one of the absolute best albums of 2014 with 'The Divination of Antiquity'. 

With Winterfylleth in the main support slot, Malthusian opened up the evenings proceedings. Shrouded in murky blue lights for most of their thirty minute set, the band mixed things up between blackened doom tempos and pure black metal blasts, to warm the growing crowd admirably. The guttural vocals and chugging, doomy pace were excellent throughout and set the scene for a great night.

http://malthusian.bandcamp.com/track/wraith-plague-spore

One of the great plus points of the nights gig, was the lengthier set time for Winterfylleth. Having had their slot on the recent tour with Behemoth limited to a mere 20 minutes, the band had time to really showcase their great talent. With new guitarist Dan Capp stepping in for the run with Primordial, the band showed why they are one of the leading lights in UK black metal.

Opening with the title track from the bands latest release, Winterfylleth’s no frills stage presence is one of the bands endearing features. There is no need for black metal’s well known clichés to mask anything. The music is stunning; and clad all in black, the band can really take their music to vast extremes. The ferociousness of the blast beats and razor like guitars of 'The Divination of Antiquity' make for a visceral experience, whereas the Iron Maiden-esque intro and progressive pace to the mighty 'A Careworn Heart', is a thing of beauty. The middle section of another new track; 'Whisper of the Elements' also provides respite amongst its furious and snarling surroundings.

With cherry picked tracks from the bands back catalogue making up the set, Winterfylleth closed out their set with a glorious rendition of 'Defending The Realm' from their debut full length long player; 'The Ghost of Heritage'. Leaving the stage to rapturous applause from their hometown crowd, Winterfylleth again proved why they’re one of the best bands England has to offer. The band is playing several festivals around Europe this year, as well as a date in London in March; try and catch them if you can. 

Where their Irish counterparts Malthusian, and brothers in arms Winterfylleth, are established but still carving their legacies, Primordial are the relative veterans of the scene. A scene that has embraced them, and seen their genesis over time allow them to become one of the most respected and revered black metal bands around.

‘Where Greater Men Have Fallen’ is Primordial’s eight studio album, and it is the follow up to the excellent ‘Redemption at the Puritans Hand’. On my initial listens to the new album I struggled with it, and I’m not sure why. After hearing more than half of it played live with the passion and vigour that Primordial possess, the album has taken on a new verve in my conscious. The opening track of the night and album title track is fantastic. Alan Averill’s painted face, stage demeanour and deeply passionate vocals raise the track to new levels. This is true of every single song that Primordial commits their name too. Other new tracks that were aired were the epic ‘Babel’s Tower ‘(which was accompanied by a fantastic video upon release), and the folk tinged ‘Wield Lightening To Split The Sun’.

The newer material sat very well with older tracks; which are rightfully deemed classics. It was great to hear ‘Gods to the Godless’ played very early in the set as it ensured the crowd were firmly on board with the staunch Eire natives. ‘The Coffin Ship’s’ from 2005 release, ‘The Gathering Wilderness’, is always a musical journey that tugs at the heart strings due to the lyrical and epic nature of the song. Averill’s emotional delivery of the sad story of the native Irish attempting to escape the great famine of the mid 1800’s is amazing. Two of the high points from ‘Redemption at the Puritans Hand’; ‘No Grave Deep Enough’ and the anthemic ‘Bloodied Yet Unbowed’ gave strength to the bands latter day output. The band finished their heroic set with classic rock tinged ‘Empire Falls’ from 2007’s ‘To The Nameless Dead’. With hordes of Mancunian’s left wanting more; Primordial exited the stage to exultant applause after giving every ounce of what they had on stage.

Seeing Primordial is an experience that never gets boring. Their chest beating anthems and clinical musical delivery is magnificent. There only a few bands that can truly hold sway over a crowd and have them in the palm of their hands for as long as they like; Primordial are one such band. Assisted by the excellent Malthusian, and quite superb Winterfylleth, I feel privileged to have witnessed such a concert.

Words by: Dominic Walsh

Live Review : The Vintage Caravan/Asomvel/Grand Magus, Sound Control, Manchester, UK, 12th March 2014

With fellow Swedes Soilwork playing the same venue on the same night, we are forced down to the depths of the Sound Control basement, but despite the few irritatingly placed pillars, the basement serves as the perfect intimate venue to host a night of heavy metal. 

An early start often means that the first band plays to a mere handful of people, and while there was certainly more than a handful, The Vintage Caravan play to a thin crowd. However, not to be deterred by this, the young pups from Iceland impress with their retro psychedelic grooves. A band I can foresee moving up the ranks in the near future for sure. Next up Asomvel, enticing a glimmer of enthusiasm from the not yet warmed up crowd with straight up, no fucks given metal-punk-rock’n'roll. Projecting his thick Yorkshire accent and boisterous demeanour, lead singer Conan does his utmost to excite the crowd and to some extent succeeds. The music not quite to my taste, bit of a poor mans Motorhead, but all in all perfectly tolerable.

The basement now well and truly packed to the rafters, the crowd eagerly await the trio of heavy metal gods as an energetic buzz circulates. For me Grand Magus 100% epitomizes heavy metal, and it actually befuddles me why they are not a thousand times bigger than they are. Not a weak album in their discography and all around incredible, for me they are one of the best bands around. And they immediately reinforce that to me the minute they enter the stage and strike the opening chord of Kingslayer.

Grand Magus are one of the few bands who haven’t really released an utterly shit album, therefore tonight’s set list is faultless, the one and only issue being that is wasn’t double in length. Speaking of albums, their latest release ‘Triumph and Power’ is possibly their strongest to date and the first track off it to be played tonight is On Hooves of Gold as fists are thrown in the air and lyrics are sung loud and proud. JB’s vocals on record are mind blowing and much to my relief that guy seriously pulls it off live, as well as busting out quintessential metal riffs. While possibly benefitting from a second guitarist to thicken the sound, Magus work in perfect cohesion as a trio. Steel Versus Steel again from the latest album is greeted as if it was an ageless Magus offering, prompting JB to point out that it is clearly a future classic, closely followed by an enthused reveller simply shouting out the word ‘STEEL’ amusing both the

crowd and band.

So many hits are dished out, meaning that at no point is there a lull, the crowd bang their heads and fist pump from start to finish. Set list highlights for me are, Triumph and Power, Ravens Guide Our Way, Iron Will and Like The Oar Strokes The Water but like I said not a weak song made an appearance, mainly because they simply don’t have any! The band seemed genuinely humbled by the incredible reaction from the crowd, but nothing prepared them for the reception of final song Hammer Of The North. Not a single body remained still as everyone whipped out their air guitar and proceeded to bang their heads to the unmistakable intro. The most fantastic moment of the gig came at the end of the song where the entire crowd sang the ‘woah’ choral section of the song so loud it could drown out the rowdiest of football fans. Despite the band finishing the song the crowd continue to sing, provoking one of the most spine tingling moments of any gig I have attended. JB, Fox and Ludwig are left stunned and heart warmed by the overwhelming passion of the crowd, which is nothing but monumentally deserved.

Well what more can I say, undoubtedly one of the best gigs I’ve been to. Get a chance to see Grand Magus live... for the love of god, do it.

Words by : Heather Blewett



Live Review : FOAD FEST, Sound Control, Manchester, UK, 1st/2nd March 2014

FOAD FEST – Manchester Sound Control – Day One: 1^st March 2014


Review :

The inaugural FOAD Fest in Manchester has been widely covered in the national extreme media. With smaller festivals becoming common fare, the market is increasingly competitive market. The challenge to put a bill together that is appealing and good value for money is one that many organisers must toil with. The organisers of FOAD hit both of these nails firmly on the head when their bill was gradually announced, and ticket prices were announced (£40).

Over the course of two days at Manchester’s Sound Control venue, there would be a vast collection of bands ranging in genre from death metal, black metal, sludge metal, doom metal, stoner metal and all sub genre stops in the metal periodic table. Whilst the bill was vast and eclectic, the set times had been organised well so that you could probably take in most bands in some capacity if you were on the ball and liked hopping between three floors!

The first band I saw were The Atrocity Exhibit. They are a three piece grind band from Northampton that showed a tendency for groove and doom in their repertoire. The Atrocity Exhibit have recently released a 7” split with Liverpudlian noise crew, Iron Witch. The band was met with a good crowd response, especially as it was very early on in the day. On the second stage in the basement, Wort brought a completely doomy set to everyone’s ears. The tempo was extremely slow and their trudging and crushing riffs satisfied the again good crowd.

Following Wort was London’s ‘blackened doom’ mob, Bast. I use the genre tag loosely as Bast flit between many different styles without actually settling into one particular genre. The band showed that they can hit the black metal box with some furious drumming, and the doom metal box with the slower, bass heavy tempos. The unique thing about Bast is that they also throw in a psych/prog element that has echoes of Pink Floyd. Bast seem to want to try new things and not be pigeonholed. When you can pull it off like they do, they really are a band to watch. Their release, Spectres is truly stunning and will be one of the best of 2014; of that I have no doubt.

On the main stage, in the loft of Sound Control, Enos exhibited their psychedelic stoner grooves. For the first time in the day, guitar solos were par for the course. Another first for the day is that more clean vocals were used! That being said, the vocals were still packed with a hard edge. Unfortunately for Enos, their lead singer/guitarist’s amp packed in half way through the set. The band deserves commendation for carrying on and still putting on a great show.

Next up on the main stage were Welsh death metal trio Desecration. As far as death metal goes, they did exactly as it says on the tin. Gore obsessed, and perverse lyrics merged with breakneck riffs and furious drumming saw the cult band go down a storm with the Manchester crowd. Their enthusiasm from the stage saw the crowd response getting more vociferous; absolutely nothing to do with the crowd getting slightly more liquored!

One the second stage, Oxford’s Mother Corona put on a particularly stunning set of groove laden metal in the vein of Black Sabbath. Again, another trio, Mother Corona had their exuberant drummer on main vocals. The band really looked like they were enjoying themselves, like Desecration before them. Their enthusiasm and vigour saw their guitarist cut his hand open on his guitar strings at the end whilst he was playing the closing strains of their final track. Mother Corona were definitely one of the absolute highlights of day one.

As the day moved into the final stretch, Sweden’s Entrails were nothing short of spectacular. The obvious nods to their forefathers Entombed aside, the band were spritely and passionate. Their set took in different parts of their discography including their latest opus; Raging Death, and their latest 7” split with Graveyard. The legendary Extreme Noise Terror were given the job of following Entrails, and they did it with aplomb. Confrontational and crushing, the crust/grind pioneers treated the crowd to their inimitable vociferousness. The dual vocals, and short, shrift tracks were bludgeoning.

One of the biggest coups/successes for the FOAD Fest organisers was getting the mighty Orange Goblin to headline their debut day! Personally, I run out of superlatives for Orange Goblin. Their set was the perfect end to the day. Many people were suitably inebriated, and with beer cans and bottles aloft, Orange Goblin put on a show that was quite simply, one big party. Opening with Scorpionica, the band went from strength to strength with the doom laden The Fog, the hard rock of The Filthy and the Few, and the always amazing Time Travelling Blues. Other highlights included Blue Snow, dedicated to Winterfylleth front man Chris Naughton, and the crowd friendly Some You Win, Some You Lose. The band closed out their dazzling set with Quincy The Pigboy and Red Tide Rising with Ben Ward venturing/towering over the ecstatic crowd on the security rail.

Day Two
 
Day Two of FOAD Fest kicked off with Molly Bloom on the main stage, followed by  Burial's, early Enslaved influenced set that was warmly reviewed by the early, gathered audience. On the second stage, the five piece Pig Witch, offered a more straight up rock affair with psychedelic undertones that were emblazoned with heavy nods to Hawkwind and Deep Purple in the use of keys in the band.
 
Satanic Dystopia took to the main stage to a larger crowd and immediately set out their stall with their self genred 'black thrashing metal.' The band carried more image than most with the guitarist looking a little like Alex Turner, and the hulking front man complete with shades and scarf over his face. Towards the end of the set, the fearless singer launched himself over the security rail into the increasingly raucous pit below the stage.
 
Local lads Foetal Juice were up next and slayed the crowd with some pure death metal that delighted the crowd. Due to the bands locality this was like a home match for them. Some great interaction with the crowd ensued and the band rattled through a stunning set of songs that had the crowd lapping up every growl and riff.

Diesel King followed Foetal Juice with some crushing sludge metal that was a change of pace from Foetal Juice. After the death metal savagery, the savagery was of a different sort with punishing riffs and bona fide neck wrecking songs. The pace was again slow for Serpent Venom whose doom laden set was played out in front of a smaller audience. The audience that was there though were treated to a magnificently tight set.  
 
Up next on the main stage were Mancunian black metal heroes, Winterfylleth. Serpent Venom’s set seemed to over run slightly so Winterfylleth lost a few minutes, however there set was still a sublime example of black metal mastery. Particular highlights of the bands set were their recently released cover of The Gates (originally by Hate Forest) from their 12” split with Drudkh and a towering version of Defending The Realm to top the bands set. Throughout the set, the band played tracks from all their three albums and showed why they’re one of the leading lights of the UK black metal scene. With slots at Bloodstock and Temples Festival confirmed, and a fourth record in the pipeline, the Winterfylleth will only go from strength to strength.  The band left the stage to rapturous applause leaving headliners, legendary death metallers Necrophagia, with some act to follow. Over on the second stage, Latitudes brought things to a close in the basement with their long and sprawling post rock sound.

Overall, FOAD Fest was a huge success. The plethora of merchandise to browse, the company, the bands, the beer, the venue, the organisation and the awesome community was a pleasure to be involved with. I sincerely hope the FOAD returns in 2015. It was a crushing weekend of extremely heavy bands all grafting their behinds off for the music that we love and to ensure that the crowd had a stunning weekend. No one put a foot wrong. Well done Manchester!

Words by : Dominic Walsh


For more information :

https://www.facebook.com/foadfest