Atreyu, Still Remains, Engel - London Astoria
London Astoria, 19th Nov 2007
To say it's 'rainy' in London is an understatement - it's been pissing it down all day, everything's damp, shitty and miserable. That doesn't seem to have lessened the enthusiasm of the crowd queueing outside the Astoria though, who have all come to see three bands that nicely embody a younger, energetic generation of metal acts.
First up are relative newcomers Engel whose Absolute Design album is arguably one of the most promising debuts of 2007. Hailing from Sweden they bring the infectious hyper-enthusiasm common to a lot of Scandinavian bands, which isn't lost on the crowd who warm to them rapidly. Live on stage they embody everything that's positive about the album - tracks like 'The Paraclete' and 'Propaganda' showing off a fresh, energised take on the melodic death metal typical of bands from the Gothenburg scene. While the clear influence of bands like In Flames is clearly audible Engel's use of synthesised samples and (I may be wrong but this is what my ears hear) digitised female backing vocals put them more than a cut above the average. One thing - if you're a metal band with nicely turned-out matching black outfits please, for the love of God: make sure your roadie isn't wearing a stripy, rainbow coloured beanie when she comes on stage.
Still Remains are met by screams from certain younger, female members of the crowd. Actual screams - it's like being at a fucking Take That concert. You can see why, they're a bunch of pretty lads all with shiny hair and lovely clothes who could clearly corner a massive market in the current, image-centric music scene. Image aside, it's best to let the music do the talking as SR's latest offering The Serpent is a highlight of the last few months' releases. I don't know if you can have 'pop metal' but this is getting close to it - soaring, balladic choruses partner chugging riffs, all accompanied by their signature synthesiser sounds and dual vocals, especially on tracks like 'Anemia In Your Sheets' and current single 'Stay Captive'. The energy on stage is admirable, although keyboardist Ben's dramatic posturing is reminiscent (dare I say) of certain 'jazz hands' moments from something out of Showgirls or Will and Grace.
Headliners Atreyu have always been one of the more undeservedly underrated acts in the metalcore genre. Producing quality songs that perfectly mixed the heavy screaming/soulful singing elements so popular today they always seem to be deserving of a higher profile. It seems a shame then that latest album Lead Sails Paper Anchor has gone for a slightly more ballsy, 'rock n roll' feel as epitomised by an appearance by Buckcherry whiner Josh on 'Blow'. You know something's possibly gone wrong when a band comes on stage to Queen's 'Fat Bottomed Girls'. Trying not to be harsh as several of the tracks on the new album retain the earlier, aggressive Atreyu sound, 'Lose It' especially, but at times it feels like the band are just playing the older tracks as a stop gap to get to the next power rock moment. While performed competently and inspiring some energetic pitting there's less of the venom and angst embodied by younger versions of the band. A metalcore cover of Bon Jovi's 'You Give Love A Bad Name' and an extended solo session by Dan Jacobs (egotistical, tedious, unnecessary) perhaps sum up the gig - a band who've unfortunately become too comfortable with life and are now just happy to party away. There's a current audience for it definitely, it's just a shame that older fans aren't going to find much to love from here on.
First up are relative newcomers Engel whose Absolute Design album is arguably one of the most promising debuts of 2007. Hailing from Sweden they bring the infectious hyper-enthusiasm common to a lot of Scandinavian bands, which isn't lost on the crowd who warm to them rapidly. Live on stage they embody everything that's positive about the album - tracks like 'The Paraclete' and 'Propaganda' showing off a fresh, energised take on the melodic death metal typical of bands from the Gothenburg scene. While the clear influence of bands like In Flames is clearly audible Engel's use of synthesised samples and (I may be wrong but this is what my ears hear) digitised female backing vocals put them more than a cut above the average. One thing - if you're a metal band with nicely turned-out matching black outfits please, for the love of God: make sure your roadie isn't wearing a stripy, rainbow coloured beanie when she comes on stage.
Still Remains are met by screams from certain younger, female members of the crowd. Actual screams - it's like being at a fucking Take That concert. You can see why, they're a bunch of pretty lads all with shiny hair and lovely clothes who could clearly corner a massive market in the current, image-centric music scene. Image aside, it's best to let the music do the talking as SR's latest offering The Serpent is a highlight of the last few months' releases. I don't know if you can have 'pop metal' but this is getting close to it - soaring, balladic choruses partner chugging riffs, all accompanied by their signature synthesiser sounds and dual vocals, especially on tracks like 'Anemia In Your Sheets' and current single 'Stay Captive'. The energy on stage is admirable, although keyboardist Ben's dramatic posturing is reminiscent (dare I say) of certain 'jazz hands' moments from something out of Showgirls or Will and Grace.
Headliners Atreyu have always been one of the more undeservedly underrated acts in the metalcore genre. Producing quality songs that perfectly mixed the heavy screaming/soulful singing elements so popular today they always seem to be deserving of a higher profile. It seems a shame then that latest album Lead Sails Paper Anchor has gone for a slightly more ballsy, 'rock n roll' feel as epitomised by an appearance by Buckcherry whiner Josh on 'Blow'. You know something's possibly gone wrong when a band comes on stage to Queen's 'Fat Bottomed Girls'. Trying not to be harsh as several of the tracks on the new album retain the earlier, aggressive Atreyu sound, 'Lose It' especially, but at times it feels like the band are just playing the older tracks as a stop gap to get to the next power rock moment. While performed competently and inspiring some energetic pitting there's less of the venom and angst embodied by younger versions of the band. A metalcore cover of Bon Jovi's 'You Give Love A Bad Name' and an extended solo session by Dan Jacobs (egotistical, tedious, unnecessary) perhaps sum up the gig - a band who've unfortunately become too comfortable with life and are now just happy to party away. There's a current audience for it definitely, it's just a shame that older fans aren't going to find much to love from here on.
Adam Green is a Music TV Producer and Freelance Writer.
http://www.myspace.com/chilligreen
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