Frontierer - The Hairy Dog, Derby, 27/09/17

As time progresses, it becomes more and more difficult to make music that's unique. To make music that has an identity, and contains something that nobody else is doing. As more time passes, more ideas get used, and then a lot of bands begin to start sounding the same. One of those bands is not Frontierer. They sound like if Meshuggah, The Dillinger Escape Plan and Aphex Twin had a baby, and that baby was given lots of drugs. Their debut album Orange Mathematics is a mind-bending whirlwind of disgusting noises, heavy guitars, punishing and erratic drums and more disgusting noises. And I mean that in the best way possible. If you've listened to it and not wondered how they possibly pull it off live, listen again. Because I definitely wondered that. And so, I went to go and see if they could pull it off.

The Hairy Dog is one of my favourite venues in the country. Not just because it's 20 minutes away from my house and sells nice alcohol, but because the place is a community for music fans of every genre. It's got a lot of support, and as a result it has been growing and growing in popularity, bringing bigger and better shows to Derby and getting the residents of the city involved in what it brings here. The turnout was great tonight, with a good number of people here early to catch the first band. That band, Sobriquet, were very impressive for a young band. Packing heaps energy and the vocalist sporting a creepy and un-ignorable stage presence, kicked off the show with a bang. The music was proggy and tight with some real clever and catchy phrases, and showed great potential for them going forwards. Visually they weren't the most together band, all of the members sporting very different levels of enthusiasm towards the show, but with a little bit more focus on their delivery and unity I can see the Sheffield lads becoming way more frequent on the local scene.

Next up was The Predecessors, a band that I hold a bit of a torch for. I used to be in The Predecessors for about a year, tracking some guitar parts for the guys and contributing a little towards the writing process in some areas. My commitment to Skies In Motion grew on the run up to the release of the album and it wasn't fair to the guys to hold them back, so I bowed out. They replaced me with another snapback wearing bearded man, Roy, who's a perfect fit for them, and I was excited to see them play their first show. And man, did they kill it. For a lot of the members, this was their first gig in a few years, so they weren't just getting back on the bike; they were learning how to ride it again. However, it looked like they didn't need to do a lot of learning. It didn't look like they'd been away for a long time at all. They looked and sounded tight and professional, stomping across the stage and engaging in headbangs and windmills, whilst simultaneously hammering out musically complex and technically mental material. The heavy bits were heavy, the pretty bits were pretty, and on a whole it sounded huge. Nathan (guitar) is a musical genius, not just thinking of the riffs, but thinking of all the layers and atmospheric noise to sit behind those riffs. The bigger picture, as it were. And it translated so well to the live performance. I'm proud of the boys for making such a huge statement with their first show, and I can't wait to see them play more.

The main support, Derby/Nottingham based Taken By The Tide, never ever disappoint. But this show was something else. They were tighter than I've ever seen them before. They always have this menacing presence when they perform, especially with Phil (vocals) slowly stalking across the stage as he snarls at the crowd. But tonight, it was impossible to take your eyes off them. Every single note was so piercing and crushing, and the drummer was essentially a human metronome. I said in my review of the Loathe show at the end of August that having two guitarists made them sound bigger, and tonight cemented that for me. There was so much weight behind their sound. I can't explain it any other way than "it was so tight". They're just getting better and better every time I see them.

Lastly, Frontierer took the stage. I had no idea what to expect, but I predicted it would go one of two ways. It was either going to blow my mind and be insanely precise, essentially like watching the album be recorded. Or, it was going to be an incoherent mess, with no discernible notes or sections, just sounding like noise. I am happy to report that it was the former. They were insane. The set was unrelenting, never once slowing down or allowing the audience to catch their breath. The guitarists use so many different effects to create the strange and unusual sounds they've become known for, and I wasn't sure how they'd come across in a live setting. They sounded enormous. It isn't used in an over the top manner, it's used tastefully throughout all the songs, adding a sense of unpredictability and unease throughout. But mainly, it adds to the heaviness. All the weird high pitched effects simply made the heavier bits sound heavier due to the contrast. And Chad (vocals) was angry. So angry. His vocals were raw and gritty, remaining powerful throughout the set, not once sounding like he was running out of steam or struggling. All together, they were an absolute wrecking ball, and by the time their set had come to an end I don't think there was one person in the room that hadn't been hit by it. They were seriously impressive, and from the strength of the new material that they performed, they're only going to get better.

If you're a fan of The Dillinger Escape Plan and are as gutted as I am that they're calling it a day, listen to this band. They aren't exactly the same, but they absolutely satisfy my appetite for unpredictable, relentless and energetic madness. Go and check out Orange Mathematics, available everywhere you can think of. If you head to their bandcamp page, you can pick it up for whatever price you see fit. Even if you think that price is free. This album is a gem, and this band are only going to go from strength to strength. Give them your time.

D.S

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Mastodon - Cold Dark Place

If metal is your cup of tea and you have ears that have been functioning well over the last 15 years or so, the chances are pretty high that you know who Mastodon are. The 4 piece, hailing from Atlanta, Georgia, have been going from strength to strength ever since the release of their debut Remission in 2002, managing to find their identity very early on and set themselves apart from the pack. They've become one of those bands where if you hear one of their riffs or licks, you know it's Mastodon. Over the course of their career, they've written songs about a giant whale, mythical creatures, deadly monsters, astral travel and desert survival. Written during the recording sessions for their last 2 albums, Cold Dark Place adds another concept to their arsenal, but contains a very personal twist. The cold dark place is Brent Hinds head and heart, and the EP is about "the concept of living and how much it hurts to f*cking be alive".

This EP was entirely written by Hinds, and musically it's quite clear that he's at the very core of the Mastodon writing process. He has a knack for writing really beautiful yet haunting passages, and this is immediately noticeable on EP opener "North Side Star". The songs features a 13 string pedal steel guitar, an instrument that's notoriously difficult to master (unless you're Brent Hinds, apparently). It adds real depth to the atmosphere of the track, setting the tone for what's about to happen before the vocals even have chance to kick in. The vocal melodies are tasteful and are just as eerie as the music sitting behind it, creeping through dark passages before launching into an uptempo, lighter feeling section, littered with a number of impressive licks and solos. One of the most impressive things about Mastodon is their ability to play around with different styles of music without making anything sound out of place, something they display in "Blue Walsh". The song tip toes through an almost ballad like feel at first, with the vocals of Brann Dailor (drums) echoing out over the delicate guitars. Roughly halfway through, it explodes into a southern sounding, almost bluegrass influenced lick, followed by Hinds blaring out the lyrics "Time has caught up with me, taking all my energy". "Toe To Toes" is the shortest song on the album, and is also probably the catchiest too. The pace is easy to nod your head to, and contains some blinding riffs that are easy to bang your head to. The vocal melodies are also hook laden and memorable, and compliment the chord progressions developing beneath them. Closer "Cold Dark Place" sways through a variety of different vibes, painting a very honest and harrowing picture of Hinds' mind. The 3/4 swing tempo gives the song an almost lullaby like feel in places, making the lighter sections sound calming and bright, while the darker sections sound sombre and stirring. The solo is an expressive and emotive slice of brilliance too, bringing an epic close to the EP. 

I read in an issue of Total Guitar once that they were in search of "the perfect riff". Going off the strength of all their albums, I'd say they're going to keep hammering out scorchers until they find it. This EP is no exception to that statement. The way they navigate through songs is second to none. Travelling down a number of different routes and exploring so many different territories, they never feel like they're racing through sections. It's like they drift through, taking their time to admire the scenery before progressing. Cold Dark Place is a beautiful, tasteful and passionate look into one mans mind and his internal battles, and is a must listen for any fans of the band and the genre. 

D.S

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The Contortionist - Clairvoyant

It isn't uncommon for bands to become popular with a particular sound, and then deviate from that sound. In fact it's quite the opposite, it's incredibly common. Bands and artists from all genres are constantly trying out new things and modifying their approach to writing music, not just to appeal to a new audience, but to continue to challenge themselves and keep things exciting for them, the artist. Bring Me The Horizon began as floppy haired deathcore upstarts, now they sell out stadiums with enormous metal tinged pop bangers and slightly less floppy haircuts. Senses Fail used to be one of the centrepieces at the Emo dinner table, now they're an angry pissed off hardcore band throwing all the food at your nan. Taylor Swift used to be an incredibly popular country artist, now she's an incredibly popular pop artist. Everybody changes. But few do it with the same grace, sophistication and smoothness that The Contortionist have demonstrated. If you listen to their debut album Exoplanet and their brand spanking new release Clairvoyant, you wouldn't be judged for thinking that they've been written by two completely different bands. However, if you listen to their entire back catalogue in order, you arrive at the new release completely understanding and appreciating the transition. It makes sense. Coming off the back of Language, I had very high hopes for this record. Language, in my opinion, was almost a perfect album. It transcended beyond any prog records I'd heard before it, and I would find myself getting completely lost in it, listen after listen. That album cemented The Contortionist not just as one of my favourite bands in the genre, but as one of my favourites of all time. The arrival of Clairvoyant couldn't have come sooner. I've been hungry for more material for a long time. I'm not hungry any more.

As soon as the eerie tones of "Monochrome (Passive)" begin to creep in, I could tell something big was about to happen. And it did. Almost out of nowhere I was greeted by a wall of tone, enormous chord strums left to ring out while the drums pound out in the background. Slowly but surely, it moved towards a much lighter place with gently plucked guitar notes, an almost choir like synth, piano, adding more and more layers, forever progressing. Their command of dynamics and use of rises and falls in their music has never been more precise, and it kept me on the edge of me seat the entire listen. This first track is instrumental, meaning we still haven't heard anything from Michael Lessard (vocals), but boy did that wet my appetite. Without warning, it bursts into "Godspeed", kicking things off with a high tempo drum beat thundering behind distorted yet clear guitar and a huge bass tone. Head already banging, I'm prepared for what's to follow. And then, the verse. Enter Lessard. His voice is unlike anyone elses in prog today. The tone of his voice is warm, slightly gravelly, soft, yet powerful. The control he has over his voice and his range are second to none. His note choices are intelligent, unpredictable, haunting, and yet remain catchy and memorable. His voice flutters over the top of the verses and choruses and acts like it's own instrument, putting another melodic brush to the canvas. The end section of this song explodes into an enormous soundscape, boasting a tremolo solo, synth, syncopated guitar and bass stabs, before coming to an abrupt stop. Right at the beginning of the album, 2 songs in, and this is already becoming something special. Both songs are completely different, yet so fitting together, flowing perfectly into each other, and grabbing my attention. Demanding I listen on. A couple of tracks later is title track "Clairvoyant", and this is my favourite on the album without doubt. For one reason. I am going to refer to that reason as THAT RIFF. I mean don't get me wrong, the entire song as whole is incredible, which adds to the effect. Musically it weaves in and out of the dark and into serene soaring melodies, but when it hits THAT RIFF you can't ignore it or dispute it's brilliance. It is so simple yet so full of impact. A headbang riff if I ever heard one. Don't me wrong, the whole song is a rollercoaster ride of feelings, atmospheric soundscapes and dynamics, but the fact that it all revolves around THAT RIFF makes this track completely stand out from the rest.

The two singles off this album, "Reimagined' and "Return To The Earth" boast what are arguably the biggest vocal and musical hooks on the album. The chorus of the former is immediately memorable, with Lessard's voice helping you sink into the flow of the song. You could even say it helps you to sink in the EBB AND FLOW. No? Oh. Erm. Go and listen to Language and then read that again, it'll make more sense. Anyway, back to "Reimagined". It's probably the most commercial song on the album, and follows the most traditional song structure, but this isn't a bad thing in any way. The song proves their songwriting prowess. It shows that prog bands CAN write catchy songs. Who'd have thought? "Return To The Earth" is far more prog, but still follows that verse chorus formula akin to more mainstream music. It just doesn't deviate from their style of delivery. It drifts through mellow tones and relaxed atmospheric sounds. It hammers through a barrage of gigantic chords and pummelling drums. It sports mesmerising melodies and vocal lines, all the while maintaining a haunting feel and an underlying sense of unease. If you heard both of these singles and weren't excited for the album, you must have heard something completely different to me. Perfectly executed, both of them. They also released the track "Absolve" on the run up to the release, displaying a more laid back approach to their song writing than they'd previously shown. The beginning of the song sounds completely different to anything they've done before, but it grows into something that you recognise. Musically clever, introducing instruments, stripping them from the mix, reintroducing them, changing the feel. It's constantly evolving, yet remains familiar. Speaking of musically clever, though, album closer "Monochrome (Pensive)" is a highlight of the entire album and a real masterpiece. It is a perfect close to the album. Featuring musical elements from the tracks that have preceded it, yet managing to create its own feel and atmosphere. It's essentially a recap of the album that slowly moulds into something that stands alone, soaring into a vast musical landscape full of tasteful guitar licks, epic synth parts and an ever developing rhythm section before the sun sets on the exact same eerie tones of the albums first track. It's almost perfect. Maybe it is perfect.

Clairvoyant is quite possibly The Contortionist's best album. They are treading a far softer path than the one they began to tread 10 years ago, as this album contains no aggressive vocals whatsoever, but it is by no means a bad path. In fact, it might just be the path they were meant to head down. The right path. The way it weaves in and out of each track is beyond impressive. Start to finish, the story that this album tells is one that you want to hear over, and over, and over. It's almost poetic, especially in regards to the vocals and their delivery, portraying elements of pain and heartbreak via some simply stunning melody lines. The tracks do stand alone, but I highly recommend listening in it's entirety to properly get the feel for what they're created. Very few bands can weave songs together like this. This is quite simply a masterclass in how to write a prog album.

The album was released on September 15th. It's available everywhere. Don't ignore this album. If you love prog, you can't ignore this album. If you've never listened to much prog, this album may well be your gateway to more. The Contortionist are at the very top of their game right now, and they've firmly set the bar very high for the albums that follow. An incredibly strong contender for album of the year. 

D.S

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