Rage lapses into resignation, builds into swelling hope, and leaves us with a sense of acceptance that is both dazzling and devastating at once.
The elation brought on by an evening with Anathema is more spiritual than ever, a raw and restless hymnal, both primal and sophisticated in equal measure.
Electravox, Ratbag and Dr Bluegrass and the Illbilly Eight performed at The Marwood, Brighton, on June 14, 2016.
Like a templar’s vision she stood alone on a Medieval altar, breath steaming as pure, powerful notes reverberated around the architecture.
The iconic woes and wonders of The Gaslight Anthem’s world were presented earnestly and infectiously through punk tenacity and folkish tenderness.
From my vantage point I could chronicle the changing emotions of the masses, guided unerringly by the anger and ecstasy of Rise Against’s anthemic sound.
While Haven has the same unmistakable drive and bombast of the band’s previous offerings, it simply lacks the vital ear-worm factor that sucked me into Kamelot’s world in the first place.
I have a long-held fascination with the cello. Sometimes lethargic and lugubrious, sometimes raw and furious, the instrument yields a human and harrowing range of sounds – it has its own voice.
For those who have never heard of Inkubus Sukkubus, their demonic name speaks much of their aesthetic – arcane and sexually charged, an energy stemming from the balance of male and female entities.