Live Review: Toy Dolls + Aviv Mark ve HaNetzach @ Reading 3, Tel Aviv [9th December 2016]

Once in a while, a legendary act will come to Tel Aviv. Normally it's a 60s/70s rock band or a singer/song writer but on the odd occasion like today, we get to witness one of the oldest British punk bands. The Toy Dolls might not be all that relevant in the scheme of punk rock nowadays but a lot of the bands that are would tell you that they were a big influence. Therefore, there are a lot of punk fans, both old school and new school, attending tonight's show at Reading 3, a pretty swanky looking venue in the north of Tel Aviv by the sea.

Aviv Mark ve HaNetzach

   Opening up tonight's event is local band Aviv Mark ve HaNetzach (which I think stands for "Aviv Mark and The Eternity"). Previously known as Aviv mark ve HaMavet ("Aviv Mark and The Death"?), it's a pretty typically mature-aged Israeli "alternative" group. With two drummers, they come off a bit like Melvins but just not as heavy or as interesting. There's the odd good riff and sometimes the two drum kits are put to good use by playing different patterns at the same times but it does also get a little messy. With my attention to Hebrew lyrics never really at its best in a live setting, I can't really say much about lyrical content but the vibe is mostly dark. It's more 80s new-wave meets 90s grunge and just similar to quite a few bands I've seen/heard out here before. It is still fun to watch, especially the energy of both drummers and the bassist, but out of all the acts in Israel who could support tonight's main act, this choice doesn't really make sense.

2.5/5

The Toy Dolls

   To some, The Toy Dolls are a joke punk band only famous for their version of Nelly The Elephant. Tonight, there is many a fan who knows that they are more than that and the band prove it.

   Arriving on stage in their grey and red suit-like attire with tiny red ties and iconic sunglasses, Olga (guitar and lead vocals), Tommy (bass) and Duncan (drums) are met with raucous applause and cheering. I personally clapped the loudest for Duncan (Redmonds), for I am a Snuff fan and admire him for being a great singing drummer.

   Being a band with a repertoire spanning 30+ years, it's hard to get every song and every hit into a set. Although the band doesn't supply the likes of  I Got Asthma, James Bond Lives Down Our Street or The Devil Went Down To Scunthorpe, they still do the fun Spiders In The Dressing Room, the rocking Idle Gossip and their superb and almost metallic rendition of Bach's Toccata in D Minor.

  Seeing and hearing The Toy Dolls in person is actually quite an interesting experience. Alongside silly songs like the catchy The Death Of Barry The Roofer With Vertigo and the infamous crowd-pleaser Nellie The Elephant, the latter of which unsurprisingly getting the greatest reception, they also play comparatively more sentimental songs such as Alec's Gone and She'll Be Back With Keith Someday. Using more melody and having deeper lyrical meaning than some of the others, these are personal highlights for me as I found myself singing along.

   As the band play through their set, that is practically all they do. There doesn't seem any need for too much banter, jokes or self indulgence, they basically play one song, say "thank you" and then crack on to the next one. Normally I would criticise a band for not being engaging enough but I can't accuse The Toy Dolls of that. Olga and Tommy are always looking at the crowd and encouraging them to sing along. The two also have good chemistry on stage, often jumping about and swapping places, doing Status Quo style synchronised guitar swaying and just seeming to be full of life. This rubs off on the crowd as even people standing at the back and the sides start to dance. Although the crowd aren't as rowdy as what I've seen before, the few that do find themselves on stage get quite heavily escorted off by security. Sometimes this makes sense if a crowd member is getting in the way of a performance or interfering with the musicians. That didn't seem the case this time and came off as unnecessarily aggressive.  

We hear more covers nearer the end of the set, including the instrumentals Wipe Out (The Surfaris) and the timeless classic When The Saints Go Marching In, but it's the final encore where we get the bouncy "la-la la" sing-along of She Goes To Finos to round off a fun night.

  Everyone has a different interpretation of what punk is. The Toy Dolls might not be as tough and serious as Sham 69 nor as fast and aggressive as Discharge but they do what they do well, with charisma and from the heart.

4/5

All photos courtesy of Miguel St Labao

Live Review: LISP/Petey's Dead/Methods @ Keoss Studios, Tel Aviv [8th September 2016]

Awww yehh! New band time! Tonight, I've come to Keoss studios in Tel Aviv (which has suddenly been doing more and more shows) to check out the debut shows for two punk trios. One is practically a supergroup and the other is a sort of reboot of a previous band.

Methods

Starting off the night is alt. rock/metal/punk/whatever trio Methods. Methods have been quickly gaining recognition and rightly so! I've already been impressed by their previous performances and their tracks online. Tonight, they start off their set a little differently than I remember, with a more progressive and jazzy instrumental, slightly reminiscent of bands like And So I Watch You From Afar and 65daysofstatic. Although not normally my thing, it still has enough groove and interesting parts to make my head sway. From there on in, the band continue with their own blend of alt. rock sensibilities and technical musicianship. Throughout their set, a mixture of different bands come to mind, including alternative legends Therapy?, post-hardcore band Quicksand, British metallers Earthtone9 and even fast melodic punk band Strung Out. The already familiar Sub-dimension and 1.1 have a few heads bobbing and the rest of the set is equally enjoyable. Drummer, Vladi, might have a few fumbles tonight here and there, but he is still one of the best technical drummers I've seen.The band are difficult to pigeonhole, but that makes them more intriguing and exciting.

3.5/5

Petey's Dead

Coming from the remains of the fairly unknown SaveIT, Petey's Dead still play the same Flatliners inspired punk. As well as new material, the band play the odd SaveIT track, such as the punchy and thought provoking Dennihalation In The Middle East from said band's first EP. The band may tackle quite political and serious subjects but do it subtly, which makes for good listening. There is nothing quite mind blowing about their performance but the material is incredibly well written. With guitarist Matan now in the ever-popular Not On Tour, Petey's Dead are getting more recognition and chances to play than SaveIT, so hopefully the music will start to speak for itself at shows and things will pick up.

3/5

LISP

While Petey's Dead is practically the same band with a new name, LISP is yet another product of different members of different bands wanting to create something new together. In this case, not only do we have Not On Tour bassist, Nir, and Kids Insane drummer, Yoni, but former Kids Insane guitarist, Assaf, is also on board.

Despite all being talented musicians from very reputable bands, LISP isn't quite the blend of hardcore and skater punk one was expecting. Instead, the songs tend to go along a more pop-punk vibe. As pleasant as the songs are, nothing quite grabs you or shocks you at all. Yoni's drumming does stand out, although not purely because of his skills like in previous bands. His heavy handed and more hardcore style comes off sounding a little out of place with the songs themselves.

Despite only having played one show, LISP are already in the process of making an album. It could very well be that their songs are just growers, so they might sound better on record. Either way, I'm looking forward to checking it out.

2.5/5

Live Review: Jeronimo EP Release Show @ Maaxan 7, Beer Sheva [25th August, 2016]

Lion's Den
Jeronimo
Elephant Hive
MAGA

Continuing with trying to venture outside of Tel Aviv for shows, I got a lift down to Maaxan 7 in Beer Sheva (South Israel) to celebrate the release of their 2nd EP by post-punk rock trio, Jeronimo. Two classic rock trios, MAGA and Lion's Den, and experimental rock duo, Elephant Hive, have also come along for the fun on the evening that also happens to be Lailah Lavan (White Night - not a racist thing) in Beer Sheva.

MAGA

Starting off the proceedings as soon as they arrive, Tel Aviv's MAGA play through their set of classic style blues-rock. Taking in elements of late 60s/early 70s bands like Creedence Clearwater Revival, Cream and even Black Sabbath, the trio play catchy numbers with all the energy of their predecessors. With some songs being more uptempo and simply structured (e.g. Did You?) and others introducing more groove and experimental tangents (e.g. Again), they have a varied enough repertoire to be considered entertaining. It's incredibly difficult in this day and age to play this style of music and come off as original, so there are no real surprises here. However, they are convincing enough, both in look and in sound, to make one believe that you are somehow watching an actual 70s band.

3.5/5

Elephant Hive

This is either my second or third time seeing Elephant Hive. I can't remember, although I've definitely already reviewed them. Having set themselves up with their own drum kit in a position more central of the venue, the Tel Aviv duo still play short blasts of experimental, jazz-tinged rock but with some different songs to their previous set(s). They seem to have added pieces with more structure. The drumming and guitar riffs sit perfectly well together and everything sounds more controlled and song-like. One song in particular is reminiscent of Primus' Shake Hands With Beef. It has a similar low-tuned, funky groove and even the same quirkiness. They certainly have impressed me more this time than before but I still think they currently cater to a pretty niche demographic.

3/5

Jeronimo

Although it's meant to be their night, Jeronimo hit the stage as the penultimate act. As the band plays a few tracks from their first EP (the ORANGE one), all 3 tracks from their latest EP (the PURPLE one) and some as yet unreleased tracks, it's obvious to hear how their sound has matured.

They are a band that states to have a Fugazi influence but it's the side of Fugazi that I, personally, don't quite connect with. I like the Fugazi with funky bass lines and angry punky vocals, whereas Jeronimo take more from the intense, progressive side of Fugazi's post-punk sound. It is still enjoyable and really showcases their musicianship. Bassist Auriya provides us is with some groovy yet subtle licks on tracks like Lions Suspended in Air and their self titled track. It is drummer Itamar who especially shines through; his overall steady timekeeping and ridiculously tight drum fills are impressive and a joy to watch. Guitarist and co-vocalist Yonatan also gives a great performance, even going amongst the crowd during solos. 

The band do have a few good riffs and some fun moments but, sadly, I think it just goes over my head a little. They are doing very well for themselves and working incredibly hard and that deserves great respect.

3.5/5

Lion's Den

Finishing off the night is hairy Tel Aviv trio, Lion's Den; one of those few bands whose look reflects their name. The band tends to be closely linked to the previous mentioned MAGA but their styles are actually quite different.

Although there is a hint of similar classic rock and blues influences, the likes of Pearl Jam and Soundgarden come to mind as I watch and listen to them. There's a mixture of laid back and funky grooves met with some low, grunge-like outbursts. Along with the bare chests and long curly hair, I can't help but think that these guys would've been great on the Seattle scene.

The chemistry between guitarist/lead singer Yoni and bassist Yoav is strong however drummer, Itay, is not always quite on the same wavelength. He still does a great job, playing with full energy. I'm definitely glad I've finally seen Lion's Den, as their mix of Seattle grunge and classic blues rock has pleasantly surprised me.

3.5/5

Live Review: Sugar Hill Gang / Lucille Crew @ The Barby, Tel Aviv [30th August 2016]

Once every so often, you will hear a name of an artist or band that you never expected would come to Israel. Sometimes it's because of the band being quite underground and for a niche market. Other times it's because the artist is so big and legendary that you don't imagine them coming to such a small country. And then there are those who are not only big and legendary...but that you didn't even know were still performing!
 As a part of their first ever European tour in over a decade, tonight sees the arrival of hip hop legends, The Sugar Hill Gang, to Tel Aviv's Barby club. Surprised by many people asking me "who?" when I mentioned I was going to see them, all it took was quoting the first line of Rapper's Delight to rectify that problem. Despite being on the same night of the release show for local queens of the underground Deaf Chonky, I could not miss the opportunity to see what The Sugar Hill Gang had to offer.

Lucille Crew

  With the Barby at about half its capacity by this point, the night starts off with opening act Lucille Crew. I have seen the name a lot on social media. I don't know much detail about the band, but they are an Israeli hip hop band, or groove collective, as they prefer to classify themselves. Despite hearing the odd song or two, which I was impressed by, I hadn't really paid them much attention. I had heard positive feedback from quite a few friends; tonight I get to see it for myself.

  Being a full NINE piece band, things already look promising as soon as they arrive on stage. I'm normally pleased if there is at least one horn player, so seeing a saxophonist, trombonist and trumpeter on stage is more than joyous. The band walk on to a "bring da motherfucking ruckus" playback (Wu Tang Clan). This makes me think that what we're about to witness to heavy as hell gangster rap. Unfortunately, it isn't but it's still damn good!
  Playing music that reminds me of Ozomatli, The Roots and Fun Lovin Criminals, Lucille Crew rightly deserve the "groove collective" label. Mixing both latin and Middle Eastern rhythms with an old school hip hop style, there's a lot of focus on groove. They seem to already have some fans in the audience, who dance and sing along to the likes of What The Hell, Big City and the horn-stab-tastic (should be a word..) Bounce.   Rapper Rebel Sun and vocalist Gal De Paz work great together. His Jurassic 5/Roots style delivery and her haunting vocals, that lie somewhere between Paloma Faith and Beth Gibbons (Portishead), compliment each other well. It's interesting to point out that the lyrical content, especially where the rapping is concerned, is actually quite sexually explicit and adult at times, although it all somehow manages to come across as so innocent and family friendly. The band altogether are fun and seem like a genuinely tight family unit. I was pleasantly surprised.

4/5

Intermission 

I don't normally talk about what goes on in between sets at a show. This is normally because nothing happens apart from some songs being played over the PA and the setting up for the next act. Tonight is different. Being a hip hop show, there are some b-boys in the house who just can't keep themselves from busting a move. A dance circle ensues and practically becomes an extra warm up act on its own. There still isn't a lot of people here by this point, at least not as many as I would expect for what I consider quite a major event. Those who are here are making good use of the time and the good music.

Sugar Hill Gang

The dancing dies down as sounds start coming from the stage. The band's Dj, Rob Temple, is stood by his decks and introduces the MCs. As original Sugar Hill Gang members the gigantic Wonder Mike and the suave looking Master Gee arrive on stage accompanied by the pimped-out Hen Dogg, all heads face towards the stage and cheering begins. The legendary rappers immediately showcase their decades experience as entertainers, interacting with the crowd from the start. They might be using clichés like "Let's tear the roof off" and "Do you guys know how to party?" but it would be more surprising if they weren't. 

 

  As the band go through a sprinkling of their own material, including classic track 8th Wonder, Fast Lane, La La Song (their collaborative house track with Bobby Sinclair) and a new song or two, they are met with smiles and a bit of boogying. However, a majority of the band's set is made up of half-covers of classic hip hop and r'n'b/motown/soul tracks. The Message naturally goes down quite well, as does a wonderful medley of r'n'b classics like Best Of My Love, ABC and "...Sex Machine". 

 

  Having already explained to the audience about their early days playing house parties and the club circuit, the band actually take to playing instruments. These guys don't just attempt to play, but they have some proper musical chops. As well as Master Gee proving that he has rhythm on the drums and Wonder Mike surprising us with his impressive finger work on the bass, it is Dj Temple who, after being in the shadows for the first half of the set, suddenly shows that he too has some pipes on him, as he takes on lead vocal duties while also playing keyboard. The band basically transport themselves to a practice room, having a bit of freestyle funk jam, touching upon the Crazy In Love/Are You My Woman lick as well as breaking into a little bit of the MJ classic, Billie Jean.

 Leaving the instruments behind, the gang get back to their 3 MCs and 1 Dj setup. As well as mentioning how great it is to perform under the Sugar Hill Gang name after all the controversy (check out the documentary "I Want My Name Back"), saying how much they've enjoyed being in Israel and how great the food is, the band also give thanks to their influences and everyone who has helped them along the way. This leads to another short cover of Purple Rain in honour of the late Prince. As sweet as this is, it's not until the legendary Jump Around horns start playing that everyone really starts..well...jumping! As the place goes nuts, the band suddenly slides into the classic Apache and is later followed by Sugar Hill's signature tune Rapper's Delight. Let's be honest...these two tracks are why most people are here tonight. They could just do these two tracks on repeat and the crowd would be happy. Apache brought on a dance craze made even more popular by The Fresh Prince of Bel Air and Rapper's Delight is forever considered the first song to bring rap and sampling to the US. They are both long standing party anthems and they have the same effect here tonight. The band even return to the instruments during Rapper's Delight, showing that they can actually play the Chic sample on their own.

Wrapping things off returning for an encore of random funk jamming, it seems as though Sugar Hill Gang really want to continue the party. Unfortunately, I think most of the crowd had already lost interest as soon as they realised they weren't going to do Rapper's Delight again. It is a bit of a let down that not enough people have come out to witness these legends reunited for such a special tour, but it hasn't seemed to have bothered them, persevering  and giving it all they've got and just a whole lot of LOVE.

4/5

All photos courtesy of Raz Mor

Review: Deaf Chonky - FARSH [2016]

For those reading who are not at all connected to the Israeli underground scene, you might not know who Deaf Chonky are. For those of you who are involved, you must be familiar with these two young ladies by now!

Deaf Chonky (a play on words of the Russian for "girls") are a young musical duo who have basically become the biggest thing in the Israeli underground/punk scene within a year, if not less. They don't actually consider themselves punk, preferring to use the term "garage-folk" (copyright pending). It is highly appropriate, to be fair. As I already mentioned in a previous live review (see here), they do have punk and riot grrl elements to their music, but it's more that they use that energy and angst with more experimental folk musicianship and thought provoking poetry.

When listening to the new album, FARSH, the poetry is there from the beginning. In 30 second intro track, Wild, guitarist and main vocalist Adi passionately uses metaphors which, admittedly, go a little over my head but seem to focus on the concept of getting things (possibly "life") over and done with quickly. As it ends with a scream, it gives hope that things can only get more crazy from here on in.

Most of the album continues with the poetry but mixed with very good song structure and passionate musicianship. In some cases, like with Shirley, the poetry takes on more of a narrative style but the lyrical content throughout the album tends to be social commentary, using high level English and more metaphors.
  Folk(a) Party(a), the song the band considers to be their only real "punk" track, has crazy saxophone parts courtesy of Itay Levin. Its changes in dynamics (part sea shanty, part experimental rock) makes it an exciting track, although it doesn't quite have the "party" vibe I was hoping for. If that's meant to be ironic, then that's ok but annoying! Kontrol, compared to its demo version (from last year's Mostly Farsh demo), has more structure and an intriguing chorus but has kept Adi's tongue twister delivery in the verses, which was the main charm of the song.
  Bad Things Could Happen is an epic musical journey, going off at tangents but ultimately circling back to the anthemic and infectious chorus, musically reminiscent of The Fun Lovin' Criminal. Social Security, possibly the album's highlight,  switches between angsty garage rock and sweet 60s style doo woop without sounding forced or self indulgent. The sweet "ooh wa ooh"s in the chorus paired with the lyrical content gives the song quite a menacing undertone. Diagnosa, nearer the end of the album, could almost be a theme tune to a Tarantino movie, with a Misirlou inspired main riff. It's a fun number with Tami's upbeat drumming making the tune the most danceable on here. 

As well as just structural and genre experimentation, the girls showcase their range of musical talents. On the traditional folk-sounding and mostly Hebrew sung Gozalim (Baby Chicks), we get to hear Adi's banjo and contrabass skills and some harmonica by Tami, as well as their sweet vocal harmonies. The harmonica also shows up on International Criminal, which comes off like a creepy waltz due to its 3/4 time signature and dark lyrics. 

Unfortunately, midway through the album, the lyrical genius and interesting musicianship takes a bit of a backseat as there's a sprinkle of what feels like "fillers". Brush Your Teeth and its repetitive "Time for bed" refrain is catchy and reminiscent of 90s Brit Pop but could be longer. It's a good track but feels like an afterthought. Their version of short Lithuanian song, Dolijute, is cute as hell but could have just been left as a live number. Then there's 08, which I'm starting to think is a mistake that they just left in. It's literally a 20 second soundcheck on parts of the drum kit! 

Tying things off using a sampler and synth on the short pulsating Looks Good, Deaf Chonky have certainly created an album which can't really be pigeon-holed easily, nor be considered "boring". Despite the odd unnecessary inclusion, most of the songs on here are incredibly well put together, both musically and especially lyrically, sometimes even resembling the poetical genius of artists like Nick Cave and Patti Smith. Their musicianship has improved since their demo and their creativity has really shone through. Although their popularity may have initially grown to hype, FARSH is proof that Deaf Chonky have something special going on.

4/5

CHECK OUT TRUTH AND LIES!!

Leeway are one of those crossover hardcore/thrash bands that have a small but strong following. Not many people may have liked their last album, Open Mouth Kiss, which saw them take on more melody and a more groove-rock vibe. I am one of those people who absolutely fell in love with that album and it has become a big musical influence for me, personally. I have since discovered another band by Leeway frontman, Eddie Sutton, called Truth and Rights.

Truth and Rights brought out a 3 track EP, Green Light, in 2010 and are set to release a new full length album, Lies and Sleights. On Eddie's private (I'm guessing) soundcloud, he has previewed two new songs. Quite similar to the Truth and Rights EP and the latter Leeway material, both Games and Tommy Karate have got the right amount of groove, riffs and Eddie's powerful vocals. Thus, I'm loving it!

NEW DANGERS TRACK!!

NEW HED PE VIDEO

Check out Codename Colin's ska punk cover of a Feeder classic!

Live Review: Eternal Struggle EP Release Show @ Levontin 7, Tel Aviv [19th August 2016]

Eternal Struggle

Coma 7

Ganza

I've shown a lot of love recently for local tough-guy hardcore band, Eternal Struggle. Although the shows I've seen them at prior to now have not had the best of turnouts, I've brought myself along to this special occasion; their EP release show. I've already sung my praises for Breaking & Entering (see review) so it is no surprise that I am here tonight in support of it.

Ganza

First band in support are Ganza. I've written about these guys twice before; the first time wasn't great and the second was good. Still with new singer Max, the guys sound and perform better than the previous show. Max is still incredibly enthusiastic, with his hair windmills and high jumps, and Ohad's guitar solos impress me more and more each time. The musicianship all round is pretty solid but their actual music style is still a bit all over the place, sounding like about 4 different tribute acts all in one. It still has the essence of some sort of college project as opposed to a real band. However, their songs are still catchy (e.g. Butterflies and Junkie) and they put on a good show, getting the crowd energised.  

3.5/5

Coma 7

  This is my second time seeing Coma 7 but my first time reviewing them. I remember first hearing something by them along time ago and thinking to myself "what decade are we in?" It was so nu-metal that I thought I was still wearing my Criminal Damage baggy jeans from when I was 15! The track I heard was actually poorly produced which ultimately let it down for me. However, it turns out that they are one of those bands that need to be witnessed live. 

  Yes, it is old school rapcore. Yes, it is reminiscent of bands like Clawfinger, Senser and Rage Against The Machine, of whom they covered (Killing In The Name, naturally). Yes, it may be considered dated by some...but damn it! I still have a soft spot for it. Frontman, Shimon, does sound a lot like Zack de la Rocha (RATM) albeit with a slight accent, which brings in the Zak Tell (Clawfinger) comparison. Even on their original songs, the solos by guitarist, Kobi, are straight out of Tom Morello's handbook. They also use politically charged lyrics, like on songs such as No More War, Pigs In Ties and Yeti, with its "We will not be controlled by you" refrain (that the band ironically manipulates the crowd into chanting. Haha!)

  Despite the comparisons, the cool, more drum n bass style beats by drummer, Elad, make things more interesting and I can't help but smile. The rest of the crowd were impressed too, getting up on stage with them and generally going crazy. If anything, Coma 7 are damn good fun!

4/5

Eternal Struggle

  They still might be a tad under the radar in the Israeli scene but Eternal Struggle have pulled in a pretty damn big crowd tonight. Maybe it's because of the support acts and the special guests all mixed together. Either way, the atmosphere is buzzing before their set even starts.

  To make things even more fun from the get go, we suddenly feel things fall on top of us, as foam tubes (aka "pool noodles"), beach balls and all sorts of inflatables are released into the crowd as the band open up the set with a yet untitled new song. (I wanted to do something like this for the Woolly Boy comeback show but didn't have the guts to go through with it.) Of course, a few people lose their minds and the place becomes a giant kid-friendly Jedi battlefield. With the band's down-tuned heavy hardcore in the background, it's a surreal yet also amazing moment.

  I will admit that the rest of the show is a little bit of a blur as I was just having so much fun either punching the air or pretending to ride a motorbike (my body does what the music tells it to). However, it is safe to say that the band plays tracks from their Breaking & Entering EP as well as a track called War and a song for all the footie hooligans, Fucking Football Fanatics. The latter sees the place go crazy, because Israeli metalheads like their football, apparently. Each to their own!

  
  As promised on the show's posters and event's info, the band had some friends join them on stage. Arie Aranovich (Ex-Hammercult/ex-The Fading) plays guitar on the beatdown filled crowd-pleaser Lost, which leads to bodies flying about the room and a lot of head-banging, Alon Karnieli (Sinnery) joins in on vocals for Pride Kills, Lemmy Keller (03/Sintax) plays guitar on the bouncy Repeat Nothing near the end of the set and both Eliav Torjman and Ben Saada of Canine join them on guitar and guest vocals respectively. Not only do the Canine boys help out on the Born From Pain-style anthem Tonight We March, this guest appearance brings about the highlight of the night - A FUCKING HATEBREED COVER! Even though they also do their usual cover of Sick Of It All's Take The Night Off later on in the set (for which I go up on stage and go crazy), it's actually hearing I Will Be Heard for the first time in ages which makes me scream at the top of my lungs. Man! I had forgotten how much I used to love that band...

I've said before in previous reviews that Eternal Struggle deserve a bigger and a more in-tuned crowd; tonight seems to have brought that. There may still be the odd person who has just come along to get drunk and shout "HEY!" at random points in songs, but who cares? To me, Eternal Struggle have two important things that I like in my hardcore - groove and beatdowns. It might not be groundbreaking but it does make me want to break shit!

5/5

Photos courtesy of:
Sharon Shapira (for Ganza)
Miguel St. Labao (for Coma 7)
Assaf Bergerbest (for Eternal Struggle)

Live Review: Betzefer/Sinnery @ Barby, Tel Aviv [17th August 2016]

As a youngster growing up in the UK, I didn't come across many Israeli bands when flicking through magazines and the TV channels. Useless ID came up now and again and Rabies Caste was on a compilation CD. However, it was the band Betzefer that I was the most aware of when doing street teaming for the famous Roadrunner Records. They had really hit the big time getting signed to them over in Europe, although I was somehow less interested at the time and never got into them.
Now, the band are back with new frontman, Aharon Ragoza (Shredhead), and new material. To celebrate their return, many metallers across the country have come together at the Barby, Tel Aviv for their comeback show; their first show in 3 years.

Sinnery

Sinnery are one of those bands whose name I've seen posted around town and on Facebook but whom I still hadn't seen. I think I assumed, based on other Israeli bands, that they might be the same as the others and not interest me. Boy, I was wrong!
  I enter the Barby just as the band finish their first song. That one song on its own makes me realise that these guys are different. The band are set up with the drummer on the side of the stage instead of the drum platform, leaving all members stood in a line. This immediately makes their performance more intimate. As the band play on with their Pantera-meets-Sodom style thrash, they do it professionally and effortlessly. Whereas some metal bands act like parodies of the genre, overdoing the theatrics and on stage banter, Sinnery, especially guitarist and lead singer Alon, do it more casually. There's still the requests for a circle pit, fist pumping, an attempted wall of death and general hype phrases, but it somehow seems more necessary.
  The music itself has just the right mix of straight forward old school thrash with added elements of groove and even progressive bits. As I watch and listen to them, I actually felt like I was watching a touring band. If they haven't done so already, they are definitely going to do well overseas.


4/5

Betzefer

On to the main act. With the Barby pretty full by now, Israeli metal legends Betzefer (a version of the word Beit Sefer - "school") arrive on stage to the playback of Eminem's Without Me. This is apt due to the "Guess who's back" line, signifying the band's return. As the crowd cheers and applauds, the band start off with brand new track, Never Been Away, the video of which has already been doing the rounds online. The song's sentiment makes it a good opener for a "comeback show". The band certainly have the stage presence and talent that proves they haven't lost it. Even new frontman, Aharon, seems to have filled the position effortlessly, comfortably taking control of the song and the crowd. Those already familiar with the track are bopping their heads away and joining in a little bit, but it's on next song, Running Against, where things really get going. Coming from their debut full length and only Roadrunner album, Down Low, we start to see some pit action and many people singing along. Although sounding a lot like Hatebreed, zooming along in a hardcore style into a crushing chorus, this is still classic Betzefer. 

The music just keeps flowing, with the band playing the bouncy Copkiller (not a Body Count cover) and the hard hitting Cash. Aharon gets into the spirit of things by spitting and chucking some water onto the crowd (cliché, but metallers love it!) before announcing "FUCKIN' ROCK N ROLL, BAYBEHH!" A mental pit ensues for Fuckin' Rock N Roll, with one failed stage dive from one of the show-goers. He basically just fell in between people. Nice try, though.

We eventually get some interaction as Aharon addresses the crowd. He praises opening act Sinnery whom he tries to point out from the crowd. After realising they're not actually there, he jokes about them being a shit band. You got to love friendly banter! The show then continues with two brand new tracks, Light Away and Hand In Hand To Hell, before someone dressed as Satan, all red with horns and in a suit smoking a cigar, comes on stage. This cleverly leads into one of the bands more sleazy, Southern metal number, The Devil Went Down To The Holy Land from the album of the same name. The song itself and the theatrics work together perfectly, making it an excellent performance. Whoever was dressed as the devil played him pretty laid back and cool but still pretty menacing, throwing his cigar into the crowd at the end. I'm sure that's considered a fire hazard, isn't it?

The band stay with the last album, playing the head banging Sledgehammer (not a Peter Gabriel cover) and thrashy Suicide Hotline pt 2, before Aharon remarks that this is his first proper live show with Betzefer and thanks both the band and former singer, Avital (now in OSOG, which I was totally unaware of before.) After two new songs, Crash and Truck Leaking Gasoline, drummer Roey is left on stage for a bit of a drum solo. It's not the best or most creative solo I've ever witnessed, but anyone who has the strength to do that while having already beaten your heart out on the kit for almost an hour gets my respect. The solo leads into an instrumental jam before they jump into one of the band's earliest tracks, Buddah. You can tell it's an older track as it has a more nu-metal vibe compared to the rest of their repertoire.

After playing Cannibal, the heaviest, most death metal-like track of the night, and the brooding Black Inside, Aharon introduces an audience member who has come from Sweden, apparently especially to see them. That's hardcore! The guy gets the opportunity to stage dive at the start of Doomsday, which sees the place bouncing and joining in on the chorus. The band then finishes the night off with 2 classic tracks from Down Low, Early Grave and the album's title track. At this point, an extra pit has opened up in the back half of the dance floor and things just look amazing from where I am standing.

For my first time seeing Betzefer, I am certainly impressed. The material, both old and new, might not be anything original compared to other bands, with it all floating in between the likes of Hatebreed, Pantera and Hell Yeah!, but it's still enjoyable. Aharon even has a Phil Anselmo look and presence about him. Because of his work with Shredhead and having duetted with Betzefer in the past, he took to his new role like a duck to water. Anyone who didn't know he was a new singer would easily mistake him for someone who has been there from the start. That's a good sign! I wish them all the best of luck from here on in.

4/5

Photos courtesy of Sharon Shapira