"Q: Why did the blonde tip-toe past the medicine cabinet?
A: So she wouldn't wake up the sleeping pills."
VARIOUS SORTOF INTERESTING CONCERTS
by Richard Karsmakers
Entombed - Het Paard, The Hague, May 22nd 1993
Originally the previous issue of ST NEWS was to be released in
this weekend. As I didn't want to miss this only Dutch concert
for anything, the release of that issue was rescheduled to one
week earlier. I had seen Entombed before at the Gods of Grind
tour of April last year, where they played together with
Confessor, Cathedral and Carcass. To me they had been the best,
so I definitely wanted to see them again should they come back
and honour us with more than only 45 minutes.
So I went to Het Paard, a youth centre at about five minutes'
distance from The Hague Central Station (by car or tram), with a
couple of fellow Utrecht Entombed fans. It seems the gig was sold
out. By the time Entombed started playing, at 22:15, the club was
packed solid with all kinds of people of the long-haired-T-shirt-
wearing-Heavy-Metal persuasion. It was a bit of a surprise that
Entombed started playing right away, as a support act had been
scheduled, called Sleep. Apparently they hadn't woken up at all,
so Entombed kicked off instead. In the 60 minutes that followed
they played all their 'hits': "Stranger Aeons", "Revel in Flesh",
"Sinners Bleed", "Crawl", "Hollowman" and "Serpent Speech" (the
latter two off their recent "Hollowman" EP) and a lot more that I
can't recall. They also played a new song (to be on their
forthcoming album) which sounded good and with unusually
innovative (or at least different) drumming.
We were right up front at the stage, almost in a position to
play the bass guitar ourselves. There were lots of people that
used me to get on the stage, various other beings crashed into me
when diving off the stage. Sweat gushed off my body, my head
banged more than it had ever banged before (I had taken a
prophilactic headache pill - worked great!). My entire body ached
and, thus, I generally had a superb time. I yelled some of the
lyrics as loud as I could and flipped out utterly. It was warfare
up front, survival of the fittest. My eyes stung from the sweat
that flowed freely in them, my face was covered with long hairs
that had fallen off the severely banging heads of various flyers-
by, Lars Rosenberg (bass) and Lars-Göran Petrov (vocals).
The concert's climax, as usual, was their classic "Left Hand
Path", one of the very best death metal songs ever recorded.
During the slow bit I literally bodybanged, perfectly in rhythm
with both Lars and Lars-Göran who stood at less than a meter from
me doing very much the same. I felt the wind of their hair
whiplash my face. This is so much better than those big concerts
where one has this much-too-large distance between band and
Unfortunately "Left Hand Path" turned out also to be the last
song. They had played for about an hour when they took off
without even coming back for an encore.
Nonetheless I can't wait for their next full-length album,
Dynamo Open Air - Eindhoven Airport, May 29th & 30th 1993
The first day: Nudeswirl, Fear Factory, Freak of Nature, Dweezil
Zappa, Monster Magnet, Biohazard, Mindfunk, Suicidal Tendencies,
Together with about a dozen other members of "V.I.R.U.S."
(~"Society of Intensely Rocking Utrecht Students") I left from
Utrecht Central Station at 11:00. Eindhoven is in the South of
the Netherlands, at about an hour's distance by train. At
Eindhoven Central Station the gathering of metalfolk became
obvious. In buses bursting with people we wore hoarded together
at about a fifteen minutes' drive outside of town, at the Army
part of Eindhoven Airport. Immediately the immensity of the whole
thing became obvious. Hundreds of tents where people (and
Germans) had camped the night were littered everywhere. Even more
hundreds of cars, some with booted feet sticking out, people
lying in the trunk, people making out on roofs. If ever I've seen
something that made me think of Woodstock, this was it.
Everywhere was the scent of grass, and already beer cans lay all
over the place. From the festival site came the sounds of Fear
Factory that had just started playing.
The sun was quite burning hot, even though the weather man had
only predicted 18 degrees Celcius with quite a substantial chance
of rain. We joined the flow towards one of the entrances. Some
people had ghettoblasters playing Pantera and Metallica, some of
which were crying along with the lyrics. The atmosphere was quite
awesome, with the exception of some early drunkards that were
trying to break down a fence. It's people like that that give us
metalfolk a bad name. "Scheiße" I heard him yell as he kicked the
fence once more.
Did you know that the entire two days of the Dynamo Open Air
festival only set you back 10 Dutch guilders?
Once inside Fear Factory had almost finished. We had lost some
of the people with whom we had come so we waited a while, after
which we sought a more or less conventient patch of grass to
settle on. Beer was brought, bags were piled, and the first
couple of people went to the front to see what the next band,
Freak of Nature, would be like. It's the band formed around ex-
White Lion Mike Tramp. What we got was almost fourty minutes of
cliché powerrock. I just waited (too long) for the next act,
Dweezil Zappa, to come.
I secured a spot right up front to the right, and really enjoyed
Dweezil and his band playing. He had brought along his brother
Ahmet, who is probably the most zany singer one can witness.
There is no way to describe the stuff he does on stage, it's
worse than a clown and he just had me laughing most of the time.
Dweezil himself is quite a brilliant guitarist and the songs were
unusual but good (I guess that's about as Dweezil as you can
describe things). They ended with what I estimated was fifteen or
twenty minutes of medleying. Showing amazing craftsmanship and
timing, all five band members must have played at least a hundred
short riffs and other recognitable bits tied together in what
cannot be described as being anything other than totally freaky
and awesomely brilliant. It varied from John Lennon to Lou Reed,
Black Sabbath to Deep Purple, Casey and the Sunshine Band to just
about any other band you'd care to mention. Dozens of different
styles combined in a smooth whole. I decided I would have to go
and see Dweezil play as main act one day soon. Ahmet parted from
us saying "I will think of you always when I'm washing my anus."
Next was Monster Magnet. Totally overhyped if you ask me. I
wasn't right up front but what I heard didn't convince me of the
supposed ingeniosity of their main man, David Wyndorf.
The time had progressed to about 17:00 when Biohazard entered
the stage. I had heard of wild shows so I decided not quite to go
to the front and instead went to stand just in front of the PA
tower. I shouldn't have done that. As soon as the stage was
filled by about a dozen wildly jumping groupies the entire mass
of people in the front started jumping, banging and moshing, a
process for which one needs about twice or three times as much
space as when standing. As all people were packed tight dozens
went down. The PA tower was besieged by bodies pressed against
the steel grating. It gave way and got totally torn and bent as
people got pushed through and dozens more went down. I could
barely remain upright. PA tower security started to try to get
the fence back up but failed. I went around the tower to the
back, having a particular desire to leave the event unharmed. I
believe some people were seriously wounded. That fence was really
sturdily built. Biohazard continued relentlessly. From the back I
witnessed the enormous party that was going on in the front. In
retrospect I think Biohazard was probably the most partying band,
even beating Suicidal Tendencies.
Anyway, I used the next band, Mind Funk, as a point of relief to
help my digestion to have something to do. The hamburger I ate
was better than McDonald's, the pizza I shared with a friend was
much too small and consisted only of something that was
unmistakably barely edible cardboard with lukewarm tomato sauce
and half-molten cheese. Good thing I could also have a few beers
to wash it all down.
I decided to be smart with Suicidal Tendencies. Go quite up
front but not with the PA tower in the back. No show. As soon as
the first beats hit the audience people started flipping out
utterly so I had to retreat to the back again. They had kicked
off with "You Can't Bring me Down", probably an audience
favourite. I was feeling pretty bad, what with me not yet really
having shared any of the heated atmosphere right in the front,
banging my head off and sweating prodigally and that sort of
thing. But it would have to wait until the next day. Even before
Anthrax started I went back in order to get the last direct
train. Too bad, really, because I really dig Anthrax.
Buses back to Eindhoven Central Station were totally difficult
to get too. People wanted to get away by car, some other cars
were just driving by, and it was total and other chaos. Luckily
five of us found a cab, so the share fare was affordable enough
to opt for that means of transportations (uncomfortable though it
was what with four people sitting in the back).
The second day: Wool, Kong, Fudge Tunnel, Gorefest, Annihilator,
Trouble and Mercyful Fate.
The second day started off a bit later, and I stayed in bed at
home long enough to get to Eindhoven right in time to see Kong.
Peaceville had sent me their "Phlegm" CD to refute my statements
made in ST NEWS Volume 7 Issue 3 regarding Whistler Courbois
Whistler being the prime European Instrumental band. Although
Kong are quite capable and probably more innovative than WCW, I
still think WCW are technically more capable (and of quite a
different style altogether), but let's not start all that.
I had barely procured a spot right in the front, photo camera
ready, when Kong started playing. There were only a couple of
dozen people who really went into it; the rest just bobbed their
heads a bit. Instrumental music is always quite difficult to
really flip out on, but Kong had a lot of rhythm so it's quite
easy. The enormous crowd supplied the required anonimity so there
I went. Apparently they were making a video clip there, for some
dude was running around doing artistic shots of the four
musicians that were for once gathered on one stage (normally they
play quadrophonically, from four corners of a concert hall). If
you ever see a bespectacled chap with a WCW cap and a "VIRUS" T-
shirt in a Kong video, it's me. He made quite a lot of shots of
me because I did quite a bit of proper air drumming and air
guitar playing, and I generally seemed to be the most active
audience member right up front within view of the camera eye. I
think Kong can rightly be justified as quite a sensation the way
they performed. Especially the last song (was it the end of
"Pulse"?) really brought the crowd into an almost involuntary
frenzy. I was as if the music had been written just to push
everyone's vital buttons. Even those who had hitherto just bobbed
their heads lazily now lifted up their hands. The roar of
audience appreciation was tremendous. I don't think Kong will
ever experience something like it again, what with them being
more sortof a band that performs in front of a couple of hundred
people at the most. The approximately 60,000 metallunatics at
Dynamo Open Air were quite another cup of tea altogether. I was
glad they played some of my favourite "Phlegm" songs,
"Stockhouse" and "Pulse".
Peaceville's Dinger had told me Kong was to perform on June 5th
in Utrecht. Another band I would have to check out in detail
I used the next band, Fudge Tunnel, to go to Europe's Biggest
Metal Market that had also been built just outside the festival
space. There I bought a very good Paradise Lost bootleg CD (off
their "Gothic" tour) and another rather good one from Joe
Satriani's "The Extremist" tour. No My Dying Bride bootlegs yet,
but these two were worth going to the Metal Market for alone.
I returned just in time to see them do their ritual guitar-
throwing and smashing bit. Quite childish; exactly the kind of
stuff I would have flipped out on about a decade ago.
After Fudge Tunnel came Gorefest, one of the very best Dutch (if
not one of the best European) Death Metal bands. This time I was
right up front against the barrier and I was about to have a
great time when the moshing frenzy started. I found myself unable
to move because people were standing on my shoelaces that seemed
to have found ways of untying themselves. Like a proper sissy
(eternal shame heaped itself on my already sunburnt and boot-worn
neck and shoulders) I had to get the security lift me out of the
mosh as there was no way to escape otherwise.
A bit later I got back, this time with my shoelaces tied better
and the ends tucked back in my shoes. It was too late to really
get into the frenzy because Gorefest didn't actually play for
very long. I have to say that Gorefest is actually pretty damn
excellent. Especially their bass-drumming technique is great. I
decided to harrass a fellow "VIRUS" member a bit more to lend me
her latest Gorefest CD, "False" (later I would also get the "The
Eindhoven Insanity" CD, a most excellent live CD recorded at
Dynamo, released by Nuclear Blast).
Next was Annihilator, the band that Stefan and me discovered
when Steve Bak brought us to a surprise metal gig in Nottingham
during the 1989 "LateST NEWS Quest". They have changed singers
twice and each time this was accompanied by a progressively
worsening album. They appeared to be doing a live recording and,
although their recent material didn't really excite me, I did
flip out quite totally on "Alison Hell" and "Never Never Land".
Annihilator, I think, played less than the time that was alotted
to them, which I thought was a bit of a shame.
Penultimate band on the '93 edition of Dynamo Open Air was
Trouble. Time for some late junkfood acquisition (by now it was
around 19:00), for I had no particular desire to get damaged
while listening to a band of which the music is described as a
cross between the Beatles and Black Sabbath. The last band,
Mercyful Fate, my utter festival favourite, would probably need
all my last remaining energy.
When Trouble played a cover of Black Sabbath's "Children of the
Grave" I headed to the front again. It took literally ages until
Mercyful Fate started. Trouble had ended before their time and
Mercyful Fate started over a quarter of an hour late. But when
they started they really started. The upside down cross on the
stage, King Diamond's microphone mounted on a cross made of two
bones, it was all complete. Mercyful Fate had been disbanded in
the mid eighties and now they were back like they were before,
with the exception of their drummer who was now Snowy Shaw (who
had played on the latest King Diamond solo album, "The Eye").
It became a huge ritual, starting off with the Satanic
Incantations known from "The Oath", with grown men crying along
in absurdly high voices to keep up with King Diamond. Divers flew
to and fro in such intensity that I had to ask the security to
put my glasses somewhere safe (I hate those f*@king glasses!).
Sometimes the divers would come two thick, and for some reason or
other their army boots all scraped along my severly sunburnt neck
(poor me). I spent most time screaming along those bits of the
lyrics I recalled, fending off the divers and trying to catch a
hazy glimpse of what was going on through the wall of security
people who seemed to consider it necessary to lift everyone over
the barrier (and over me) who seemed even vaguely intent on
diving. Their best songs caressed the multiple thousands eardrums
present, from a medley of earliest EP songs to "Satan's Fall"
(classic!), from "Curse of the Pharaoh" to two songs off their
forthcoming new album (called "Egypt" and "Shadows"). King got
off the stage into the press ditch and I even got a chance to
shake his hand before the two encores ("Black Funeral" and
"Evil") were history and the many thousands metal fans had to
find their way back home again. Even many Germans shouting
"Zugabe, Zugabe" didn't get them back on stage for a third time
(I find it amazing that all the world's concert audiences,
including the non-English ones, cry the universally
understandable "We Want More" whereas the Germans seem to insist
on "Zugabe, Zugabe" - just shows to tell, really).
As I had stayed until the very end this time the last direct
train to Utrecht had left already. Indeed I was barely in time at
Eindhoven Central to catch the Rotterdam train, where I could get
onto the nightnet (that went via The Hague and Amsterdam finally
After over four hours in a train with virtually nothing to
drink, too little clothes on and no place to extend myself for an
attempt at a nap, I arrived at Utrecht at around 04:00. When I
came back home again the eastern sky was already growing light
Kong - Ekko, Utrecht, June 5th 1993
In the weekend of June 5th and 6th I had to finish all five
masters of the "Ultimate Virus Killer". Going to a concert on the
evening of the 5th was a totally necessary thing. I had seen Kong
at Dynamo and had been quite amazed at their music. Now I had to
go and see it in close-up, see Kong in true quadrophonic
splendour perform in a small club where only about 100 people
would fit in as opposed to almost 60,000.
I went with a couple of friends, about half of them members of
the society that should by now be known to you, "VIRUS". Ekko is
a small and cosy place and when I glanced into the actual concert
hall I saw that the three additional stages allowed perfect sound
distribution and audience contact. Whereas at first the place
seemed to fill itself rather slowly it actually got quite full in
the end. They also sold Witte Raaf beer there, which is probably
the best so-called white beer around (as opposed to Dentergems
and, most certainly, Hoegaarden).
At about 22:00 AM they started playing. Slightly changed
versions of most of their album material caressed the multiple
eardrums and, possibly, the odd hearing aid. They played quite a
bit more than they had done at Dynamo, and most rightly so. When
they stopped at about 23:30 they had played all of their best and
had come back twice to play a total of three extra songs. The
second encore was not as good as the first, probably because the
first included "Stockhouse" which is actually pretty darned
I made some good pictures and ensured the acquisition of a drum
stick and a plectrum of each of the guitarists. After the gig I
stuck around for a while and succeeded in talking for a while
with the guitar/keyboard man, Dirk de Vries. He told me a next
album may be expected early 1994, and that is was delayed quite a
bit because they were yet trying to sort out a record deal - it
wasn't even certain that their third album would be released
through Peaceville like was the case with their material so far.
Their new album will be in the same vein - instrumental heavy
dance metal rock something. Prior to that, sortof an EP will be
released with dance versions of Kong songs made by other people
(not the sort of stuff I'd be interested in, I guess).
All in all, Kong was quite an experience. Although they seem not
to have the concept of "audience interaction" in their
vocabulary, they once more succeeded in transforming a host of
people that had barely heard their name before into a rather
wildy banging/dancing/flipping crowd. When I came home I
immediately sat down to write this. It is now 01:26, July 6th
1993. I have a night of deep sleep ahead of me, induced by
copious quantities of Witte Raaf, followed by what will probably
be quite an intense day of finishing off "Ultimate Virus Killer"
Perhaps I'll survive.
Dweezil Zappa ("Z") - Tivoli, Utrecht, June 20th 1993
When I walked into Tivoli I was once more reminded of the small
hall's intimate setup. I had seen Mucky Pup play it some years
ago, which was perhaps too intimate as there was no way to get
around the enormous mass of people who just party through the
night and dive off stages.
Not so with this gig. I haven't seen one stage diver, and I have
to admit it was somewhat of a relief with Dynamo Open Air still
fresh in mind.
At 21:15 it was opened by a Rotterdam instrumental guitar band
called Peter Magnee, that played for about half an hour. Though
the guitarist yet has to learn about facial expressions and that
sort of thing he was quite good actually, even though the sound
was way to loud (as usual at Tivoli). Per Magnee's music is
sortof a cross between Mads Eriksen and Whistler Courbois
Whistler (which is an interesting blend, since these two are
Anyway, at 22:15 "Z" started. They played virtually the same
songs as at Dynamo Open Air, though this time there was more
space for fun, improvisation and general in-between bullshit. The
infamous medley was succeeded by sortof a stage play where Ahmet
did the acting and the rest of the band did the sounds (very
funny in quite a zany way), after which the medley continued for
another while. It was easily recognizable that Dweezil's main
guitar influence stemmed from Eddie van Halen; many of the songs
that were played were interluded by cover bits, amongst which
were Van Halen's "Unchained" and "Sunday Afternoon in the Park"
(yes, the current Michael Anthony bass solo bit). Metallica's
"Sad but True", interestingly, was used for an intro purpose as
well. A quite impressive song that I could not recall from the
Dynamo Open Air gig was called "Perfect Guitar" (or something), a
long and excellent guitar instrumental.
The audience was weird. Except for about a dozen die-hard fans
(who seemed mostly to have originated from Frank Zappian times)
and about two dozen moderately interested people such as myself
the audience mainly consisted of people that excelled in bobbing
their heads dully and applauding dutifully when required.
Nonetheless they came back for an encore that consisted of
several songs, one of which was the "Perfect Guitar" bit and
another one of which was a song that I don't know by name but
that has Ahmet singing at his best.
It was difficult to get a guitar pick as Dweezil generally
didn't throw them into the audience but instead dropped them
around him on the stage. The roadies seemed reluctant to hand
them out, but nonetheless I procured one. A bass guitar pick was
another asset I could manage to get off with.
My collection of guitar picks is getting impressive.
Note: Naive childish bragging alert ahead! I have guitar picks
now of Cyril Whistler (*), Yngwie Malmsteen, Dave (bassist of
Mucky Pup), Terry Carter and Jay Abbene (who are with Wratchild
America but who played with Dawn Crosby in the Fear of God gigs I
saw last year (*)), the guitarist and the bassist of Raggende
Manne (I don't know their names, actually (*)), Joe Satriani
(well, it's actually Miranda's), singer/guitarist of God
Dethroned (*), Aldo Sprenger and Dirk de Vries (both guitarist of
Kong (*)), Peter Magnee (*) and Dweezil Zappa and his bass player
(* denotes that the pick was played with for the entire concert
on which I got it). I have signatures of Joe Satriani, Yngwie
Malmsteen, all members of My Dying Bride, Dawn Crosby (of Fear of
God), all members of Whistler Courbois Whistler, Bernd Steidl,
all members of Donor, Dave Mustaine (ex-Metallica, now Megadeth)
and Jason Becker (Cacophony). I have a drum stick of the drummer
of Wrathchild America (again when he played for Fear of God (*))
and Rob Smits (drummer of Kong (*)).
End of naive childish ego-boosting session.
Whistler Bijlsma Whistler - Plaspop, Arnhem, August 14th 1993
After I had heard the news of bass player Barend Courbois having
left Whistler Courbois Whistler I was quite eager to see the band
play with a new bass player and, possibly, with their new singer
(yes, they were working on stuff with lyrics). As it was, the
band that Miranda and me saw in the Arnhem drizzle was Whistler
Bijlsma Whistler (or just Whistler for short) with a totally
instrumental set, except for quite a lot of bull-shitting in
between songs. The new bass player turned out to be Jan Bijlsma,
founder of the defunct Dutch hardrock band Vengeance. He was
clearly - and almost embarassingly - less capable a bass player
than Barend, but has more of the typical stage personality one
normally sees with bands the likes of Bon Jovi. I guess he'll do
well with the girly fans, but I reckon the time that people will
stop chanting slogans along the lines of "we want Barend, we want
Barend" is still far away.
The set that got poured over the in-drizzle audience was short
and not devoid of faults. There was quite a bit of a bass fuckup
that took at least three minutes to fix - something technical I
presume. Nonetheless we got a drum solo within the short allotted
time - that I would rather have heard "Fata Morgana" instead of.
We even got a totally insignificant but thankfully short bass
solo. I guess everybody missed Barend then. Only "Joey" got
played off their first album - not even "Hurry for the Curry" and
"Fata Morgana", and I had already learned to live with the fact
that they no longer seem to want to play "Elephants".
"Commitments", "Compendium Maleficarum", "No Lyrics Allowed"
(with a rather excellent and certainly very flashy guitar solo
improvisation bit), "Reltsih W. Rhapsody", "Co.Br.A." and
"Prayers in the Garden" (where the whole two-hands-on-the-
fretboard bass bit was done by Cyril Whistler because Jan seemed
unable to do it) is what we got instead. Not even "Desert Storm"
(definitely the most powerful track off "Privilege") and
"Bangkok", their habitual encore. Too short, and sadly lacking
some of the most poignant songs. Cyril's guitar play seemed
sloppy, too. Many of the faster runs were transformed into one of
his typical tremolo-bending sound effects. Still excellent, of
course, but not quite the stuff I know he can do.
When we went home we felt a bit dissatisfied, even though in the
end I procured another guitar pick to add to my ever growing
collection. I caught myself thinking I was glad it had been a
Anathema - Dynamo, Eindhoven, October 16th 1993
This was one concert I was seriously looking forward to. Ever
since Peaceville's Dinger had set me on the right track by
sending their debut CD, I had continously grown to like this
band. Anathema is a band in the vein of My Dying Bride but their
music is more, well, transcendental and sad, almost infinitely
and profoundly sad. I think it has something to do with minor
chords and the lack of up-tempo material. The lyrics are usually
about tears, promises, death, sleep and love (to name but a few
Upon our arrival (I went together with Joris, another member of
the Society of Intensely Rocking Utrecht Students) we headed for
the merchandise booth. Due to Dynamo being a small venue, prices
were accordingly. Shelling out 25 Guilders for a T-shirt is a lot
more realistic rather than 40 or 45 Guilders at the biggest
venues (let alone 60 Guilders for a longsleeve!). Anyway, upon
inquiring whether perhaps any Peaceville chaps were present, it
turned out that one of my Peaceville contact persons indeed was -
Andy Turner. It also turned out to be possible to meet the band
backstage, to the considerable excitement of Joris and myself. I
had brought their CD and biro along, together with a camera. I
made some pictures of me and Joris with the band, we got our CD
inlays signed (and supplied with some impromptu moustaches, ears
and tears) and had a little chat.
They were actually rather cheerful guys, on the contrary to what
their music would suggest. Darren (vocals), who claimed to have
an ST at home, even told me he sometimes buys ST NEWS and thinks
it's a good read. He's probably got us mixed up with another
magazine, but if not then it's jolly nice to know he likes what
we do. He also told me they'll be hitting the studio in January
and/or March, with their second CD due out in April 1994. Surely
a date I'll be looking forward to.
By the time we got into the actual concert hall, the support act
(a local band by the name of Pathology) had already started. The
sound was cranked up insanely loud, but way up front it was
managable, the PA spilling forth most of the audio further into
the small hall. Pathology plays thrash, I guess, and was quite OK
though quite cliché. They had a female singer and two songs (one
of which I believe was called "Peace Cock") had a male guest
vocalist. Plenty of enthusiasm there. They played for something
like three quarters of an hour, followed by a break. At about
22:20 Anathema began.
Already the stage had been enriched by multiple burning candles
and sticks of incense. They walked on stage and started off about
five minutes of feedback and miscellaneous intro noises that
eventually transformed into "Lovelorn Rhapsody". I seemed to be
one of far too few people somewhat familiar with the Anathema
reportoire, and flipped out accordingly, sometimes pausing to
take pictures. Most of their CD and EP ("Crestfallen") was
played, with the exception of "Dreaming: The Romance". At times I
found myself already in trance, body swaying to the rhythm, eyes
closed as the musical version of deep sorrow was poured out over
me, especially the almost tear-inducing "Under a Veil (Of Black
Lace)". Catharsis at its very best.
They ended after about 50 minutes, bringing the show to a close
with the same collection of feedback and miscellaneous noises
that had started off the gig.
Satisfied, even though I had forgotten all about the almost
ritual acquisition of guitar picks, I went home.
If My Dying Bride, November 7th, will be anything like this then
I may very well consider 1993 my top concert year so far (which
had hitherto been 1990, with the Metal Hammer Festival featuring
Metallica, and my witnessing the Queensrÿche "Building Empires"
In the next issue of ST NEWS you may expect some remarks
concerning concert experiences with Deep Purple, My Dying Bride
and the 1993 Aardschokdag Festival (with, among others, Paradise
Lost and Dream Theater).
The text of the articles is identical to the originals like they appeared in old ST NEWS issues. Please take into consideration that the author(s) was (were) a lot younger and less responsible back then. So bad jokes, bad English, youthful arrogance, insults, bravura, over-crediting and tastelessness should be taken with at least a grain of salt. Any contact and/or payment information, as well as deadlines/release dates of any kind should be regarded as outdated. Due to the fact that these pages are not actually contained in an Atari executable here, references to scroll texts, featured demo screens and hidden articles may also be irrelevant.