My Weekend At Download Festival 2019

Going for both Saturday and Sunday this year I had some miraculous fortune being in the right places at the right time to miss out on the rain. There was no avoiding the mud though! Not a lick of grass insight, the arena was a mud bath but I got through it and had a fantastic time. Once again the festival delivers on a magic I manage to convince myself is going to run out as the years roll and this year was no exception, the headliners really delivered something special. This year I thought I'd right about the highlights, good and bad, despite catching many more acts over the two days!

Power Trip
I saw this band not so long ago opening for Napalm Death in a small club and they blew me away with their 80s Slayer-alike Thrash Metal. It was great to know they could grab the attention of the festival organizers but a main stage slot was unexpected however given what a mighty show they put on it is no surprise. There strong songwriting for a tried and tested formula really matched the crowd and the probably won over a lot of new fans with an explosive show!

Behemoth
It was my first time catching the Devilish legends Behemoth, their music was a strange translation to summer sunny skies on the main stage but impressive costume design and stage makeup made it work. The performance was engaging and tearing through some strong at utterly dark songs they really made quite the impression as a band I need to get more familiar with!

The Hu
 There was no way I was missing the opertunity to see a Mongolian Metal band! Squeezing into a rammed tent the crowd was electrified to see a really unique and almost drone like vibe emerge from the fusion of Metal and native Mongolian instruments. It went by in a flash! I had checked them out before but this live show really helped bridge a gap in their music.

Batushka

Making their way onto my highlights list for all the wrong reasons. Russian Orthodoxy inspired Batushka had me dead excited for their notorious live show, however taking an age to to set up an elaborate stage of era furnishings and ornaments, their slow arrival to the stage became a drag. Going through some sort of slow candle lighting ceremony they took far to long, overplayed their set time and took more than five minutes between the three songs they churned though doing dull rituals of candle lighting and blessing books. It was a sham and they angered a lot of fans with the poor execution of their show. It did not translate to festival restraints.

Die Antwood
 Hear the booming bass from the Tent where Batushka were dampening spirits I was dead excited to catch the quirky South African Rave Rap duo! Unfortunately I only caught the trail end of their set however it was an absolute riot! The sound system was blaring and their energy on the stage was phenomenal. I couldn't help but move. Its really nice to have something break the flow of similar music being played around the festival. Would have loved to have seen more of it, shame about set overrun but these things happen.

Slipknot
 Prior to the show I had been feeling a little hesitant with Joey and now Fenn's departure. It was however a dynamite show from a band who seemed focused on giving us the absolute best. Corey Taylor was pitch perfect and ten years on from one of the greatest shows Id ever seen, the Knot proved they still have it! It was very emotional, strong memories of my social groups bonding over this band in our youth and that feeling of freedom when your inside the song, inside the moment, free of life's burdens. Only a few bands can do that and Slipknot is one of them, with deep cuts like Get This and Scissors it felt truly special.

Cane Hill

 With delays for fans entering the arena Cane Hill has to kick off Sunday to a small crowd however they gave it their all and a being at the front one could get a better appreciation of guitarists unique playing style and use of effects. As a band they have obvious influences from Korn and Nu-Metal however it made clear that they are bringing their own style and it rocked hard!

Alcest
 Ive been waiting a fair few years for my opportunity to catch Alcest and they did not disappoint! Their serine music translated beautifully to the intimacy of the small stage and their enchanting singing was captivating. The sound was impeccable and these songs came to life on the stage! Wonderful set.

Whitechapel
 Ive never gotten that deep into this Deathcore band however of the times I have seen them they have always been killer. Clearly oversold on the smallest stage, a rammed audience squeezed in and despite being at the back, barely able to see the stage the sound was impeccable. Their trio of baritone guitars were crushing and they soared through a brutal set of tracks. Perhaps this is an advantage of listening from next to the sound desk!

Smashing Pumpkins
 They feel somewhat like a recent discovery for me. Its always 90s bands that seem to get to my heart and I would have been thrilled for this show had I not seen them earlier in the year. It seems they are good friends with Amalie Bruun of Myrkur. They brought her out to do a Black Sabbath cover together which has a special atmosphere to it. Their show was reasonable, amazing set design but It feels like they have ambled through the last fifteen years missing out on the opertunity to establish themselves as a headline act. Billy's stage presence is left to be desired between songs but the performances themselves were fantastic.

Slayer
Its farewell to the legendary Slayer from this side of the pond. I would of loved to see the whole show but the beginning was absolute fire and ever over thirty years into it they can still pull of their songs with a manic intensity. Tom sounded fierce and the live show is certainly not the reason they are calling it curtains. There was a huge fan turn out for the legends but I had to leave early to get my spot for Tool.

Tool

They have been my band of choice to "get into" this year. Many, many hours churning through their discography, which seemed so difficult to get at first. Having got through every record I made the drive north listening to Tool and really starting to connect with the music in anticipation. Live music always has this magic and I shouldn't of been surprised to have it unleashed again. At first the show felt a little underwhelming, no cameras on the band and nothing but trippy visuals plastered across the big screens. It didn't take long for me to realize how much the band wanted the show to be about the music. Their flawless executions of dense and difficult music became a beacon of light and all of a sudden I felt that "strangeness" around their music disappear. It made complete sense, I was converted to a die hard fan and blasted nothing but Tool on the late drive home too. An utterly amazing show to end the weekend on.

The Smashing Pumpkins "Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun" (2018)

Long since their glory days of Siamese Dream and Mellon Collie, my excitement for a new Pumpkins project has been mixed with worry. The possibility of a resemblance to Billy's solo album Ogilala and an over bloated, insignificant album title overshadows the return of James Iha. I doubt he has little to do with the writing of the music but he performs on the wax and I was hopeful his presence would have an influence. The record makes its distinction as a band far from there hay day while rather fondly resurrecting the semantics of their glory years. Its opening two tracks sound like a time warp to the nineties as Corgan unites his emotional, melodic Alt Rock guitar flexing with his niche style of sung hook to captivate in the choruses.

Like a looking glass peering into the past, the rosy tint of nostalgia lays out a path that each song walks with familiarity to their back catalog. I don't think a single track felt new or unique but rather clever re-hashes of old ideas and occasionally slipping off the edge of tolerance with cries of "she stabs the anti clock" and Travels "its where I belong" sounding somewhat hollow. It is otherwise a cracking record with beautiful, glossy and scenic music composed of humble instruments playing to one anothers strengths. The voice of Corgan sits snugly in the middle singing his heart led lullabies and its forms with keen melody and a bit of guitar grit driving songs forward in various phases.

For all it does well something doesn't stick with this record. Its got a gorgeous production, everything sounding alive and of its moment, the string sections and keys add a serine warmth when they rise but despite all this Its strongest moments feel shades from former classics and its more "original" songs sound flat in comparison. Its been a tough one to put into words and Ive found what songs ill be returning to here again so I'll leave it alone on that ambiguous note.

Rating: 6/10
Favorite Tracks: Knights Of Malta, Silvery Sometimes, With Sympathy

The Smashing Pumpkins "Monuments To An Elegy" (2014)

So far I have listened to the Pumpkin's records in chronological order, but while listening to "Machina" I couldn't help myself, after enjoying the "Being Beige" single I was itching to hear "Monuments To An Elegy" and didn't fancy the wait. The group split in 2000 and since Corgan revived the project it has received a mixed reaction from fans on critics alike, but the single promised a sound closer to their "classic" era, one I am very much fond of. On a side note I also like the album art here, whatever it supposed to be it looks different each time I see. Much like seeing shapes and face in the clouds.

Monuments is a straightforward record of simple pleasures, short, punchy songs that get straight to the point. The guitars aesthetic is reminiscent of the "Mellon Collie" era, warm tones of distortion that crash in with big chords and have a diverse composure that find new directions, bordering Indie at times but in general blurring the lines of rock and its counterparts in typical Pumpkin's fashion. Its exciting, an evolution of ideas that retains the core. Alongside the main instruments, Corgan brings in a strong electronic element through bright and vivid synth leads that add an expansive dimension to the sound. Either organs, bells, strings or phased buzz-saws, they gel with a contrast that matures with each listen and familiarity. On one track "Run2Me" a pulse dance beat and bright chirpy synth create a very different flow and vibe that really didn't work for me, it stuck out like a sore thumb in the middle of the decent track listing.

The instrumentals are strong, progressive and focused, but Corgan's charactered singing is the glue holding it altogether, every riff and groove is amplified by the eternal youth of his voice. Now approaching fifty, his voice still has the charm it did twenty years ago, most obvious on "Dorian", the most infectious vocal hook the record offers, one that gets me singing along with the simple to follow afflictions of the name. The chemistry at work on this song is a prime example of the album in its better moments, the instruments come together under his captivating lead, with a punchy dance kit, astral plucked strings, pianos and a crusading flanged guitar orchestrating a big atmosphere. Its a great record, only 32 minutes in length its quick to consume but has great songs and really sets a positive tone for Corgan's current creative state. Looking forward to the next record at the end of the year.

Favorite Songs: Anaise!, One And All, Monuments, Dorian

Rating: 6/10

The Smashing Pumpkins "Machina - The Machines Of God" (2000)

Its been some time since I last listened to the Pumpkins, we last left off with "Adore", an album that marked a shift within the band that set them on a different path musically. Suffering the departure of drummer Chamberlin and brain of the band Corgan going through a deep depression, the shift is considered the end of their "classic" era and has since left fans divided on the bands musical output after this point. I found Adore difficult to fully appreciate, but it wasn't till after a wrote my blog and put it down that the melodies and echoes started to play in my mind, and picking it back up I really grew to love and appreciate what it was about. Having not been especially swooned by this record I'm wondering if it will follow suit with Adore, a record that absence grows fonder.

Machina sees the return of drummer Chamberlin and departure of bassist Darcy, but not a change that makes a drastic impact on the record, even with their drummer reunited the drumming has the stiff looped feel of Adore. On first listen their is a lot that feels like a progression from it, theres a thick ethereal ooze of airy noise between instruments, many acoustic moments alongside the return of distorted guitars that are fitting of Corgan's style that blurs the lines of Rock and Metal. It is a sound certainly identifiable as Pumpkins, but only lives up to their reputation in the strong moments of this record, of which their are many, but as the record draws on there are some less attentive tracks, namely "The Imploding Void" and "Glass And The Ghost Children", fifteen minutes that fall flat. Machina was originally proposed as a double album, and after being rejected by the record label the second half was released online for free the same year. One of the first records distributed online free of charge.

The strengths of Machina come from Corgan alone, his voice cruises over lush ethereal tonal guitars ringing out in a haze of distortion and melodic acoustics. Either jamming out a riff or parading a thoughtful lead, his voice coursing over the airy soaked layered sound is comforting and warm from track to track. The other instruments don't quite speak in this volume, the bass muddles on with a basic groove behind each riff and the drums are not as adventurous as they have once been, but its looped feel and contained approach may server as a better backbone for what is an indulgent and intoxicating sound on its best songs. On its quieter tracks Corgans ideas feel solid but just fall short in execution as the mediocre suffers the flow set by some of Pumpkin's best songs with "Stand Inside Your Love" and "The Sacred And Profane". Time will let me know more about this record, I certainly found some gems here, but as a whole it didn't quite smooth out.

Favorite Tracks: The Everlasting Gaze, Stand Inside Your Love, The Sacred And Profane, This Time, Wound

Rating: 5/10

My Top 10 Music Discoverys In 2014

Its been a great year for music. I've seen a lot of live music and caught some amazing anniversary shows, like Emperor playing the whole of "In The Nightside Eclipse" ans Nas at Lovebox playing "Illmatic". Also got to see Sikth, Metallica, Eminem, Dog Eat Dog and Limp Bizkit a couple of times too. Theres countless more but seeing two of my all time favorite albums played in full was really something. I foolishly missed out on seeing Linkin Park play "Hybrid Theory" in full and Smashing Pumpkins with Marilyn Manson in London, but no need to dwell on the missed opportunities, next year I will aim to take them all! Beyond live music I've broadened my horizons and discovered more fantastic music, this list covers my top 10 new discoveries over the year, for my top 10 albums of 2014 click here.

(10) Kendrick Lamar

I was never expecting to find much in the way of modern Hip Hop, but this artist had what was great about the old and the new rolled into one. It gave me a better understanding and appreciation of the new era. ive since found myself enjoying a lot more Hip Hop from our current time.

 (9) Skee-Lo

Not the greatest of rappers, but Skee-Lo's style and sound is prime 90s, and I love 90s Hip Hop, after expansively exploring this era over the last few years there are not many leaves left to turn over, but Skee-Lo was a hidden gem that had some how alluded me, much like Kriss Kross possibly because of short lived commercial success at the time.

(8) Chelsea Wolfe

Simply a brilliant musician, Chelsea's dark and haunting psychedelic folk paints her a unique sound to my ears that is a welcome discovery, but one I have neglected to take beyond "Pain Is Beauty", must listen to more of her albums in 2015!

(7)  First Aid Kit

I've said a lot about these two already, my favorite album of 2014, and beyond that their other records are enjoyable too. A great discovery recommended by a reader here at the blog.

(6) Depeche Mode

Known about this band for as long as I can remember, but finally had some encouragement to give them a listen and found that I very much like what they are about. With such a large discography I'm sure I will be listening through their albums for some time to come.

 (5) Ministry

I've known about Ministry for a long long time, even listened to ΚΕΦΑΛΗΞΘ a couple of times but this year their music just clicked for me. I brought a 5 album bundle at bargain price and never looked back. Incredible energy and anger in their music, my favorite discovery from my dive into Industrial Music.

(4) The Art Of Noise

"The Seduction Of Claude Debussy" Is a blinding album, it fit a niche for something I had always wanted to hear, a joining of old and new, Classical and Opera colliding with Jungle and DnB. The record itself is no experiment, this is a masterful execution and expression that utilizes the qualities of each and brings them together in unison, beyond the album they have a few other songs I like and have been a rewarding discovery.

(3) Marilyn Manson

I've been familiar with Marilyn's music since my youth, all my friends liked him, but for some reason it has taken me 15 years to get it, but its well worth the wait. Manson has his own genius and he flaunts it through his angry, rebellious music that has plenty of food for thought. I've really connected to his music and I'm eagerly anticipating a new album from him in 2015.

 (2) Marvin Gaye

I was drawn to the TV after hearing extracts from "Kind Of Blue" to find a great albums of past show, after Miles Davis came Marvin's "What's Going On" album. It stuck a nerve with me immediately, and I found myself at the mercy of his soulful voice which appealed to me through the subject matter. He could talk about our deep rooted societal issues, but package them with a warm reflection and positive perspective that spoke to me deeply. I brought the record instantly and it has been spun countless times since.

(1) The Smashing Pumpkins

Undoubtedly my favorite discovery this year, and maybe of the last few. Their a band I've always known of, but really had no idea what their about. After watching a documentary about them, it clicked, and listening through their albums one by one I've realized Billy Corgan is a musical genius and one I connect with. His sound is brilliant and unique, bringing influences from across the spectrum of Rock, Metal, Grunge and Alternative, but blending it all together and painting songs in his own color. I've enjoyed there first 4 records tremendously and theres still more to come.

The Smashing Pumpkins "Adore" (1998)

The fourth Smashing Pumpkins album is one I have been anticipating with a touch of unease. Having unexpectedly fallen for this band, I realized its been a long time since I've discovered a musical genius with a body of work to explore. "Adore" is where many have cited things dramatically change, and Corgan himself has described it as "A Band Falling Apart". This album sees the departure of drummer Jimmy Chamberlin replaced by a drum machine, which seems to be a keen talking point of this record. The album cover and band's image at the time is very much Gothic, hinting a shift in sound, which was the biggest surprise with this record, there is simply nothing Gothic about it.

Adore has the Pumpkin's sound, but its a shift in style and execution that puts more attention on their gentler side and Corgan's vocals. Theres an unsettled yet relaxing air to this record, its calmer, dramatic in its own way and has a touch of Ethereal influence in the aesthetic as reveby electronics muddle with the acoustic guitars. At first the drum machine was very apparent, very stale and stagnated compared to Chamberlin's free and energetic drumming, the programming felt stiff, a lack of subtle timing or volume fluctuations and no fills or pattern variations made it feel a little droning at times. On some tracks this worked surprisingly well, but overall my reaction was mixed. At times it felt like the drum machine was intrusive, on others it complimented the track. Throughout it melded well with a warm bass that moved well with these acoustic numbers. The electronic elements are somewhat overpowering of the acoustic guitars, but thats its charm, it served to create a unique sound for this one.

Despite a mixed sound, the theme of this album was very consistent. Its a steady, moody ride, full of love, sorrow and romanticized poetry thats lyrically maturer in nature. Gentle and melodic this album drifts though itself and calms into an almost lullaby like state in moments. For what there was to enjoy about this shift in sound, in came in small quantities, only a handful of songs had the substance to make a memorable Pumpkins track, and the songs in between those just didn't captivate like the first few tracks which made for a promising listen. If the drum machine is a problem or not, its irrelevant, some songs just didn't cut it and "Adore" just doesn't have the arsenal their previous efforts had. Its inconsistent, but it does have a couple of gems.

Favorite Songs: Perfect, Daphine Descends, Tear, Pug

Rating: 8/10

The Smashing Pumpkins "Mellon Collie And The Infinite Sadness" (1995)

Totaling two hours "Mellon Collie And The Infinite Sadness" represents a remarkable creative output for the group who's finest hour (or two) has been hailed as this album by critics. Its the bands third record and last with the original lineup. A future change in sound and style has left these three records being considered as the classic era of the band. Compared to the first two, it is also the most diverse and varied. Corgan brings new influences and ideas to his songwriting as well as more instruments, including strings, pianos and the occasional harpsichord. Despite this expansion to their sound, they very much maintain their identity in what is a stellar album brimmed with great numbers.

A great double album is a feat not pulled off by many artists, and whether this made one or not is up for debate, but their is no doubting this is a band in their creative peak. Whats impressive is not the length, but how many memorable, "favorite" or classic songs are packed into this record which starts off with some energetic and explosive rock out tracks, ie "Jellybelly", and gradually matures into a gentle giant of dreamy lullaby rockers that are truly soothing and calm. Corgan's lyrical and vocal presence is as honest and youthful as ever, with some awe inspiring moments like in "Tonight, Tonight", where his voice is pushed to its limit with a high note he doesn't quite reach, but the way its sung is so honest and heartfelt, its truly warming.

Theres such a rich variety and depth on display its quite hard to summarize it all up. The production is astounding, capturing the vibrant tones of the guitars, the warmth of the bass and power of the drumming in a mix that accommodates all of the extra instrumentation when its present. Its colorful, technically brilliant, so much so you may not stop to think twice about it. With everything good said, I did feel the second disc has a mark below the first, or at least when listening to the whole two hours at once. As the album calms down my attention to it dies a little as well. I found it more enjoyable to listen to the second disc separately. A really beautiful album, and now ill look forward to "Adore".

Favorite Songs: Tonight, Tonight, Jelly Belly, Here Is No Why, Bullet With Butterfly Wings, Cupid De Locke, Where Boys Fear To Tread, Bodies, 1979, Tales Of A Scorched Earth, By Starlight

Rating: 8/10

The Smashing Pumpkins "Siamese Dream" (1993)

"Who wants, honey? As long as theres some money!" The Smashing Pumpkins sophomore album starts of with a bang! Cherub Rock is possibly their greatest song, it really encapsulates some of the groups best qualities. Siamese Dream starts where their debut "Gish" left off, this album saw the group break into the mainstream with the album penetrating several top 10s around the globe, it has since gone 4 times platinum in the USA, and deservingly so, this record is an experience. Building on Gish, the group fine tune their sound and deliver a gorgeous record rich with moving instrumentals, emotional lyrics and a resounding consistency that engages me as these 13 songs travel through many passages of their unique sound. 

The sound of this record is absorbing, the guitar tone is dense and inviting, with a warm buzz about it thats engaging and exciting as the pair bang out countless alluring riffs and fiery leads. The clean tones are somber, calm, with a lot of colour and personality about them. The drumming on this record is solid but isn't as adventurous as on the previous record, theres not many moments where they make a big impact on the song. The bass is steady, warm and colorful, giving their sound depth and consistency. The cohesion of the instruments is great, this is a sturdy sounding record that brings out the best of them. On the track "Disarm" the inclusion of strings works effortlessly to narrate another classic song 

The guitars and Corgan's voice give this album its character, the bass and drums guide them along their course, as broad, inventive riffs spark emotions that Corgan explores with his voice and words. Utilizing their unique guitar tone, this album cruises through many riffing styles and moments inter spliced with some grabbing emotional calmer moments where clean guitars gleam. Corgan's introspective presences is moving and deep, bringing his honesty and bearing all with an emotional performance delivered with some memorable creativity on occasions. This is a fine album, one with much mood and character and a depth of songs that come with just a hint of nostalgia. Classic!

Favorite Songs: All?

Rating: 9/10

The Smashing Pumpkins "Gish" (1991)

The 90s is probably my favorite era of music. The Alternative movement, the birth of Nu Metal and the peak of Hip Hop are three I'm very fond of. Its never ceases to amaze me how much wonderful music was created in this decade, and my latest discovery is The Smashing Pumpkins. I thought for now it would be fitting to talk about there first album, which I first heard this album some time ago. It has taken me some time to appreciate their genius, but now I find myself addicted to a sizeable portion of there rich discography.

Like many of the greats, the Pumpkins have a genius to there sound that muddies the lines we draw to define how bands are supposed to sound. Theres elements of Rock, Alternative, Grunge and Metal that has an almost Gothic tinge to it. In this blurrinesses of influences Pumpkins create a unique identity. I personally feel like a big part of this comes from the downplaying of the guitars, D'arcy's bass is often pounding over the top of fuzzy guitar riffs that could easily be high energy Metal if played in a louder, crisper setting. Its this approach that give the guitars a more melodic vibe and subtle energy that gives them their edge.

The drumming is thoughtful, subtlety moving from fast upbeat tempos with explosive snare rolls to quiet atmospheric pace setting where the songs dictate. The guitars are charismatic and explore many melodic and energetic moments throughout the record. The bass is warm, bold and loud, which I really enjoyed as bass presence can often be overlooked. Billy's voice may not be to everyones liking, but it grows with time at proves to be an emotional outlet that is an important part of what makes it work. Pumpkins are the complete package who over time grew as musicians. This record proves they had it from day one, theres no filler here and plenty of memorable moments to enjoy.

Favorite Songs: I Am One, Rhinoceros, Bury Me, Crush, Snail, Tristessa

Rating: 8/10