Live Review: Atari Teenage Riot + support @ Gagarin, Tel Aviv [29th December 2016]

Atari Teenage Riot
Mechonat Hereg
Eternal Struggle
Soleil Bone



Although bands who plan to come to Israel often get bombarded with negativity by anti-Israel activists and the like, never was there more of it from within the country itself than when self proclaimed anti-fascists and fans of Israel, Atari Teenage Riot (ATR), announced their Tel Aviv concert. Many people were confused at how anti-fascists can love Israel and thus saw the band as hypocritical. At least this is how it came across online. It turns out that more people were just a bit annoyed that such an underground (albeit highly influential and respected) act as these German originators of the digital hardcore sound were playing such an expensive show. However, that hasn't stop most of the people who have come out tonight, both to see ATR and the interestingly mixed local support. 

Soleil Bone

  Unfortunately, I arrived a little late and missed opening act, Nute, but did arrive in time to check out the weirdness that is Soleil Bone (pronounced Bo-nay, I believe). Noise/experimental music has never been my favourite genre. I like it when it has a lot of intensity, passion and a even a hint of structure. Soleil Bone are more along the "let's just play and see what happens" method of noise. With a drummer (initially masked) playing quite sparsely, a guitarist creating a lot of fuzz and distortion, a guy on a controls making random noises and a vocalist growling the majority of the time, it's certainly an interesting support act but hardly anything breathtaking. It reminds me of a band made up of old guys I saw a few times in Derby, who I believe were called God Has Tits. They basically just got on stage and had a go at instruments. I think that Soleil Bone know how to play... but decide to go down a less musical path.

2/5

Eternal Struggle

I might need to stop reviewing these guys soon as I don't really have anything new to say. Among all the more metalcore bands and hardcore punk bands in the county, Eternal Struggle bring that crushing NY-style hardcore that I've always loved. They're pretty damn lucky to be put on this line-up. It might not make sense to many people having a Hatebreed/Born From Pain/Terror style band at a show like this but variety is the spice of life! Seeing as ATR have their ties to punk and hardcore, it's a nice idea to have at least one punk or hardcore band supporting. Being made up of drum n bass lovers and ATR fans, Eternal Struggle maybe seemed like the most logical choice (also, their manager organised the event but shhh!).

Although Eternal Struggle get a really good crowd at their own shows, the head count isn't quite the same tonight because of this particular event's demographic. However, their mosh parts and beatdowns get a few people running around and a fair bit of hair banging. It's a shame they didn't do their usual cover of Sick Of It All's Take The Night Off but maybe it is about time they stuck with the strength of their original material. Hardcore dancing still isn't quite the done thing out in these parts but they would totally get that sort of action Stateside and in Europe.

5/5

Mechonat Hereg

When this show was initially announced, there was no doubt in my mind that Mechonat Hereg (Killing Machine) were going to support. I don't know much about them and only caught them live briefly before but they are essentially the Israeli Atari Teenage Riot. The blueprint is essentially the same; fast breakbeats, noises and harsh punk-like male/female vocals. Difference between the two acts is that ATR actually have structured songs. Mechonat Hereg are more of a rave band for low-key shows. They've got good energy and are the only people doing this sort of thing in the country (as far as i'm aware). Unfortunately, the music keeps randomly dropping out (some form of technical issue) which dampens the atmosphere a little and is generally a tad disappointing. The vocals and delivery are also nothing special, although vocalist Yam has an interestingly super high-pitched voice which reminds me a little of Manda Rin from Scottish electro-Brit pop trio Bis. Technically, that's a good thing as I loved Bis but I can imagine it's not for everyone.

2.5/5

Atari Teenage Riot

As more people fill up the Gagarin dance floor, everyone's anticipating the main event. I, personally, have always respected Atari Teenage Riot as I liked how they mixed electronic music with the intensity of punk. This especially came through in a live clip I saw of them from Reading Festival '99. Although I was actually at that festival as a 13 year old (my first ever big show), I didn't go the day they played but managed to catch it on TV. With the old line up including the late Carl Crack and former co-singer Hanin Elias, it was simply a high octane performance full of full throttle beats, screaming and buckets of sweat. I know that the line-up has since changed but I have been hoping for that same kind of experience.

As the lights dim, we faintly see Zan Lyons, a sometime member of ATR, step behind the table of laptops, controls and samplers. He's closely followed by man of the night, Alec Empire, the main founder of the group and poster boy for the fast paced, noisy and hyper digital hardcore sound. Alec is encouraging the crowd from the start, raising his clenched fists in the air as the venue fills with pulsating rhythms and noises and Zan operates visuals.

During the set, Alec moves to the foreground to shout and jump around with partner-in-crime, Nic Endo. Although it is odd to see her without her iconic painted Japanese symbol on the side of her face, Nic still has an amazing presence as she moves around the stage in an almost assertive fashion. Likewise, Alec has the complete attention of the crowd and they have his, as he locks eyes with everyone while spitting his lyrics of revolution and anarchy.

Many of the ATR fans here tonight have most likely come because of the band's earlier work. Some of the newer songs from the 2014's Reset album, such as J1M1 and the untypical Modern Liars with its strangely melodic and pop-like chorus, do not fare too well at the start of the set. However, it's actually album track Transducer's heavy thumping beat that initially gets the crowd uniting and thrusting themselves around like a wave. The more classic tracks like Revolution Action, Into The Death and No Remorse (I Wanna Die), the latter of which contains a Slayer sample, get the biggest reception from the crowd due to being the more energetic and punk/metal influenced.

Although there are those out there who may not be happy with the change of line-up, it does not seem to have affected ATR's live performance. Their set may contain newer songs that break away from the sound many fans know and love but the high energy and dedicated performance that I remember seeing on TV all those years ago is still there. Alec's personal love for Israel may have definitely encouraged his enthusiasm but I'm pretty sure him and Nic have that same passion everywhere they go. 

4/5
All photos by Adam Oscar

Live Review: Liberating Justice Mini-Fest @ Gagarin, Tel Aviv [29th July 2016]

Ganza

Eternal Struggle

Knees Please

Methods

Almonim Metim

Elephant Hive

Tonight, the Gagarin club in south Tel Aviv sees a coming together of bands of different genres in order to collect donations of tinned food, clothes, condiments and other such items for refugee children. The event has been put on by Eternal Struggle members for the Elifelet charity.

Elephant Hive

First on tonight is Elephant Hive. They are a crazy rock duo who play really short cuts of instrumental experimental rock. The idea and the energy is great but, from a drummer's point of view, the drumming is a little too over the top and sometimes doesn't sit well with the guitar. It feels at times that the drummer's choices are kind of unnecessary. He even uses an upside down champagne bucket (of sorts) at times which mostly sounds great but has its moments where it is out of place. The guitar riffs are actually good but there are some "songs" which feel totally unfinished, such as Tom Shush, which suddenly stops as it was just getting going. They certainly have talent but just feels too much like a jam band at the moment.

3/5

Almonim Metim

I've reviewed noisy punk outfit Almonim Metim (Anonymous Dead) before and even played a show with them (with Woolly Boy) but each time I tend to hear something new. On the surface, they are just a "shouty band" but beyond singer Anastasia's screams, there is Amit's jangly guitar, Benjamin's soulful bass lines and Ben's interesting drumming that give them something a little different. It even sometimes brings up elements of surf or 60s rock which not many expect to hear in "screamo hardcore punk." 

The screaming does get repetitive at times and this isn't the most energetic I've seen Anastasia (one time she came up to me and screamed in my face). The band in general are a little agitated already by the age restriction hindering friends from coming in, so that might have something to do with it. I think they have something special musically but the vocals could do with more dynamic changes to keep in with the dynamics of the music itself and just to keep things that little more enticing.

3.5/5

Methods

Methods are another band I've reviewed before and I liked them then and I like them now. The music they do is quite refreshing, not just in the Israeli music scene but in general. Their music reminds me of bands like Therapy?, Incubus and even Three Days Grace all sort of mashed up together. They use dynamics and sometimes changing time signatures which are interesting but sometimes sound messy. They nevertheless do have some catchy songs, like Sub-dimension, which makes me smile!
 The sound in the venue isn't helping them all too much. It could just be where I am standing but it all sounds pretty scratchy and unclear. The rest of the crowd, as small as it is, are moving a bit but I think might be going through the motions. Methods' sound could be considered a little too mature for some show goers. Sometimes, people just like to switch their minds off when they go out and listen to very angry people play very angry music... angrily. Methods have melody, precision (at least try to) and follow almost pop-standard writing formats. Hence the name, probably. It's methodic and well thought out. Although there are a lot of bands that you can say that about, with Methods, it's somehow more apparent. They've got to get tighter playing-wise, but musically, they have something good going on.

4/5

Knees Please

I've reviewed Knees Please before, both live and on record, I've seen them a bunch of times and even did a show with them and I've tended to really love them. Now, however, I'm not all that into it.
This show in particular consists of all new material that I am just not feeling. Besides Barry The Lizard, which is an interesting groovy number, everything else is just a bit too long and uneventful for me. They're still a heavy band and have great stage presence, but sometimes my head can't deal with 30 minutes of only 5 songs. This is unfortunately one of those times. I may be alone, though, as others are headbanging and "moshing" away and simply liking the heaviness. 

3.5/5

Eternal Struggle

I only recently reviewed their latest EP and am most likely going to do more of a write up of their upcoming EP release show, so I'll keep this short. Eternal Struggle are doing groove based tough guy hardcore and they are doing it pretty damn right. I think it's still lost on most of the crowd here tonight who, again, are just enjoying the intensity of the music. The Sick Of It All cover of Take The Night Off only sees a few people, like myself, actually singing along to it. There is still some movement and audience participation but I am never going to stop finding the fist raising and the "hey" chanting misplaced and generally quite annoying. That's just me. Call me a snob, if you will, but I just think there's a time and a place for it and an Eternal Struggle show isn't it. There should just be bodies running about the place and high kicks and bloody faces. These guys need to get to Europe and they'll get the reaction they deserve.

4.5/5

Ganza

With a new vocalist and new drummer, Ganza are practically a new improved version of the band I saw a while back. Whereas I previously likened them to basically trying to be Alice In Chains/Guns n Roses tribute act, new singer, Max, takes their sound into more Pantera territory. Despite having the same songs, everything just somehow sounds a lot heavier and I am digging it more this time around. Butterflies, especially, comes out sounding great and everything is made even more entertaining with Max spinning his hair around.
By this point in the night, there isn't much of a crowd left, but those who have stayed are running around and some even singing along. Ganza might still be nothing special, but they have improved.

3.5/5

It may not have been the biggest turn out I've ever seen for a show like this, but it was a massive result for the Elifelet charity. Well done to all involved.  


Thank you to Assaf Bergerbest for the photos (where labeled). 

Live review: Little BIG @ Gagarin, Tel Aviv [28th July 2016]

Once again,  I have taken myself along to a show for an act whom I previously was not really familiar with at all but thought could be interesting. Having checked out some songs of theirs already, I thought I'd give Russian party band, Little BIG a try. 

  Upon entering Gagarin, I notice a slight change in the place. Not only have they moved the bar to the other side of the room but they actually knocked a wall down to make more space for both the bar and actual floor space. There even seems to be a door or 2 on this side of the room which were not there before, so they've done some good renovations since I was last here. When speaking to someone I recognise from other shows, I find out that the event started earlier than I was lead to believe, thus missing opening act Shitty CT, a peculiar band from Akko, North Israel, that mix punk, rap metal and electronica. They are not everyone's cup of tea, especially on the punk scene, but I personally really like the style. Apparently, tonight was a special sort of electronic set as opposed to full live band, but it's still such a shame I missed them and I can only apologise.

  In the lead up to the main event, there is a mixture of drum n bass, edm, hip hop and even ska playing over the speakers. Whereas normally people would just be standing around talking in between bands, there is already a party atmosphere going on, as groups of friends and couples are dancing away. Even I can't help but nod my head and tap my feet a bit. It is interesting to see that there's a mixture of people out tonight, including metalheads, street punks and some proper ravers in bright coloured skimpy clothing. Music really does unite all sorts of people... 

  Eventually, the warm up music dies down and a guy in sunglasses comes on stage and you just know he's got to be with the act. Who wears sunglasses indoors? This turns out to be the band's DJ, Sergey "Gokk" Makarov, as he takes his place behind the decks. He is then followed by the tattooed and scary looking Ilya (Prusikin) and Olympiya (Ivleva), who is basically the "little" in Little BIG. They start the show off with latest album Funeral Rave's opening track, To Party. This is the perfect song to get things going, as its pounding techno beat and Olympiya's sweet vocals (although I can't say for certain how much of it was live) make a great combination for a proper rave anthem. The crowd is already jumping and the atmosphere is electric.

  As the show goes on, the crowd gets treated to tracks from the band's debut album, such as With Russia From Love, We Will Push The Button and Pump It, all getting the crowd equally as hyper as the next. After a while, I think the band begin to realise that a majority of the venue is Russian, or at least Russian speaking, as they start shouting out things I don't understand that get a huge response from the room. This is kind of cool, as it must make both the band and the audience more comfortable. As well as the Russian, I start to hear something that I was so certain was Mr Plough (Simpsons, anyone?) but turned out to be a chant for band member Mr Clown, who then comes from the side entrance to the stage. Not only is he in clown makeup and a clown wig, but he is wearing a ice hockey shirt with his name on the back. This instantly makes me think of Juggalo acts like Insane Clown Posse, and that's not necessarily a bad thing. This addition to the show takes things up a level. Mr Clown really connects with the crowd, speaking mostly in Russian, and just brings this energy which we didn't even realise was missing. He's closely followed by newest live band member Sofia (or Sonya?), who adds to the sexiness that Olympiya had already brought to the stage, wearing tight spandex and gyrating about the stage. A "mosh pit" actually erupts as the song Dead Unicorns gets underway. This song, along with the next song, Fucking Asshole, again brought to mind the Juggalo rap genre. Whereas the former song has violent lyrical content and a darker electronic vibe, the latter relies on a circus theme-style loop while rapping obscenities. Both songs are ridiculously memorable and possibly the highlight of the show for me, along with the infectious Life In Da Trash and the anthemic Every Day I'm Drinking, which got people throwing their arms and legs all over the place. 

  Little BIG are basically the result of Die Antwoord and Scooter having a baby and giving it up for adoption to a poor Russian family. It's fist pumping party music with some pretty silly lyrics ("My dick is big. My dick is very big"). Their live show, at least tonight, is simple, with no backdrop or special effects or anything. They don't need it and we, the audience, certainly didn't need it to have a good time. All band members are engaging and full of energy, even Sergey, who jumps on the table of his decks now and again. He seemed to be mostly pressing play and throwing in the odd klaxon sound most of the show, so it was good to see him actually joining in on the fun. It could very well be that most of the crowd are drunk and/or high which adds to the high octane reception but as a sober viewer, I was still smiling from beginning to end and there was never a dull moment. 

All photos come courtesy of Tom Hooliganov 

4/5

Live Review: drumcorps @ Gagarin, Tel Aviv [28th April 2016]

Although this blog is called PUNKalovich and I tend to cover punk and hardcore, I have been known to go to and review certain shows out of curiosity. This is one of those occasions where I only discovered the act via the gig poster and decided to give them a listen on the chance I might like it. And guess what! I only bloody did!

 Tonight, I find myself at Gagarin to see drum n bass/digital hardcore artist drumcorps. When I get there, a fair bit later than the posted starting time (which itself was midnight, anyway), dnb DJ, Hostage, is on stage. I'm not going to officially review his set tonight because..well..I don't really know what to write in terms of a proper review for a drum n bass DJ. What I will say is that it was mostly quite slow for drum n bass. It was more like thumping techno. Either way, it was a good warm up but I didn't hear anything that really made my feet move.

 After Hostage, drumcorps takes the stage as the night's main attraction. I hadn't heard of him before but I checked out some tracks and it's practically the sort of mix of heavy guitars and manic beats that I always thought about having a go at. As good as it already is on record, drumcorps live performance is an amazing experience. As well as playing prerecorded tracks off of Ableton on his laptop, drumcorps aka Aaron Spectre (originally from Boston but currently residing in Geneva, Switzerland) also plays some live guitar through a massive Orange amp and uses a form of drum pads/sampler for live effects and added fills. Even when simply playing a prerecorded track, Aaron is totally hyped and making sure the crowd is having a good time.

  What drumcorps does is not simply electronic music. The set opener, My Heart Flies To Where You Are, doesn't even really come under the banner of drum n bass, jungle or digital hardcore at all. It doesn't even really fall under punk. It's a pretty slow tempo, heavy and almost sludgy jam with an enticing melody that builds throughout. The drum n bass fans seem to not really know what they've come along to at this point, but those more into hardcore and metal are headbanging away. I'm even smiling immediately as I'm surprised by how heavy and groovy it is. We hear drumcorps' slower side again later with the short dark interlude We Turned At A Dozen Paces, For Love Is A Duel, but the majority of the set is hectic. 

  The setlist is mainly comprised of tracks from his 2008 album Grist and his latest album Falling Forward. Those who are already fans go crazy for likes of Grist classics like Botch Up and Die (which samples To Our Friends In The Great White North by Botch), the anthemic Down (which samples Cave In's Terminal Diety) and the album's title track, which ends the night back on a slower and more headbanging note. Newer tracks like Got The Row, Crosses and Tap Tap Tap are chaotic electronic numbers with frenzied beats and distorted guitars that get some people running around, whereas more hardcore tracks like Built For War and The Path actually result in some air punching action here and there. He also played a couple of remixes, including his remix for Relief by the band Genghis Tron and an unreleased remix of hardcore band Code Orange's I Am King, the latter of which came off sounding even heavier and more crazy than the original. 

  After the main event, local underground DJ crew, Sensi Sound System, take the stage. Again, I'm not really going to give this much of a review. Not just because I'm not really sure what to say about a DJ set but I really only stayed and listened to Shy FX's Original Nuttah and then went home. By the time I walked all the way home, it was about 5AM. I ended up sleeping until 6:45PM the next day! So lucky I had nothing else to do. 

Aaron Spectre/drumcorps is something I am kicking myself for not discovering sooner but so glad I paid attention to the posts and dragged myself along to this at stupid-o'clock at night. I have a soft spot for drum n bass, as well as a big love for digital hardcore acts like Mad Capsule Markets and Atari Teenage Riot and hardcore punk in general. drumcorps takes all this to the extreme and presents it with joy and energy. With only a few bits of equipment, he manages to make a hell of a noise; a powerfully invigorating, crushing and heavy noise. I'm not a fan of the noise genre, per se, but when it's rapid drum beats, heavy guitar riffs and shouty vocals, I am very much on board. The sampling from hardcore and metal bands and the fact that some of the drumcorps original tracks include drumming from Madball's Mike Justian and Iggor Cavalera just make this act all the more interesting and special in my eyes.

A shout out to Bass Fanatics and Frog-Hop Crew for their hard work of bringing him over and setting up the show.

5/5
Photos courtesy of Raz Mor

Live Review and Album Review: Sintax: Sway For A Better Day release show @ Gargarin, Tel Aviv [30th May 2015]

   Although there was a show at Koro tonight I could have gone to review (my apologies to both Jeronimo and Krokodil Popular, whom I was hoping to give support to, and Regel Sabres, who I don't really know), I have ended up tonight at Gagarin in South Tel Aviv for yet another metal show. Tonight celebrates the release of Jerusalem Metal band Sintax's new album, Sway For A Better Day. As most of the set consists of songs from the new album, I shall be doing my first ever 2-in-1, reviewing both the show and the album.

         Photo by Sharon Shapira

   I have seen Sintax once or twice (I can't really remember) over the last few years and never really paid proper attention to them. I always thought they were good but never all that memorable. Tonight, I have come to check them out with the proper attention deserved and also give support to the two Sintax members I know from hardcore band "03" (Efes Shalosh), Lemmy and Misha. Misha has even turned up in a No Turning Back shirt, which has to be a first for out here.
    There were two supporting bands, Mechanigod and Sinnery, who I missed due to tardiness, but managed to turn up just in time for the main act. Ascending the stage to the sounds of sirens and under quite blinding lights, it is quite an epic entrance despite a low turn out. The band then kicks in to the set opener, the weirdly named Fine Line To Sodomy (track 5 on the album). The song has an amazing opening riff with thrash drumming and basically stays pretty old school throughout the song. The chorus is very headbang inducing, although I'm not really seeing much of that amongst the crowd. The band are putting a lot of energy into the performance. I already know that Lemmy (rhythm guitar) and Misha (bass) are great performers from their 03 shows. Lemmy is jumping every chance he gets as Misha strums his bass with gusto and an aggressive (although incredibly content) expression on his face. Lead guitarist Roi (ex-Shworchtsechaye) keeps reminding me of Shane Embury of Napalm Death; he's a mature (in age) fellow with big hair and a goatee (technically, Embury has a Van Dyke) who plays standing quite still but still oozing coolness. Frontman Yehi (frontman of Caveman King and owner of Blaze Bar in Jerusalem) has great vocals and a proper metal presence but sometimes lacks on the enthusiasm and energy that the rest of the band shows.

    Photo by Sharon Shapira

Next song, Up For The Physical (track 8), is quite classic metal in style, especially with its long and haunting melodic intro. The "Stop wasting my time" refrain is infectious and can be used in any pissed off situation. Throughout the song, the style switches from the more classic metal sound to pure thrash, ending with an amazing thrashy climax. Drummer Nir, who, from where I am standing, is pretty hidden in darkness, seems a bit off in this song. The cymbal crashes didn't seem to be in the right places and the fills often seemed like he was squeezing too much in. Despite that, he continued to play spot on throughout the show. 
    Shooting Starts is a very new song which is set to be put on the next record. It's a heavy and groovy track. The vocal rhythm and general feel of parts of the song reminded me of the heavy parts of a song called Fundamental by PUYA. It's almost on the verge of rap metal and I for one am not complaining. Lemmy is encouraging the crowd with all his might like some sort of knight leading his men to victory. He's so metal, it's not even cheesy...just brilliant. The band then invite Orel from Mechanigod to join in on guitar for I Get It Now (track 7). The song has a frantic intro, with fast paced riffing and chaotic drumming. The song stays pretty thrash throughout and causes major headbanging. At the show, the sound was a bit muffled so everything was a bit unclear. On record, however, the song is clearly a banger with an awesome ending. 
   Title track Sway For A Better Day (track 2) takes us back to a more old school vibe with some solid standard 4/4 drumming which then switches to 6/8 at around the 1:30 mark (yeh...I'm getting all technical on your asses right now!) and back to straight up metal. There's a more modern metal groove near the middle of the song which, at the show, got me swinging my head as Lemmy bounced over the place. Let's Get Mental (track 3) starts slow, heavy and demonic. The guitar melody could easily be summoning Satan [Punkalovich does not endorse Satan worship or the black arts in anyway...although The Craft is a great movie]. The pace then picks up and the "pit" here tonight eventually opens up, although there's still not a lot of people. The song is a great thrash number with changing drums patterns and interesting breakdowns. The "Let's get mental" refrain near the end of the song is something that, with time, all fans will be throwing their horns and shouting along to. 
  The following few songs in the set are newer songs lined up for the next release. Moti (Spawn of Evil vocalist) joins the band for a song entitled Pen Sword, which starts off groovy and then goes full on thrash. Finally, there's a bit more excitement on stage as Moti is properly engaging the crowd with eye contact, hand gestures, a lot of hair swinging and an evil yet incredibly pleasurable smirk. I already liked Moti from when I saw Spawn of Evil first time I came to Gargarin so I'm not really all that surprised. Both Hate People and Most Hated Man In The Universe give us a dosage of both thrash and groove, with the pit opening up again during the latter. 
     The Answer...The Name... (track 6) marches itself into thunderous double kick and chugging guitars followed by blast beats and fast riffing. The song itself, especially on record, sounds a lot like classic Metallica, which isn't a bad thing at all. I didn't really get that feeling live; it just came off as raw death metal. Either way, it's good old fashioned fun!

Photo by Sharon Shapira

   The band then treat us to two covers. The first song turned out to be You Can't Teach An Old Dog New Tricks by Seasick Steve. Unexpected and interesting cover song choices are always a thumbs up in my book. Even though I had a feeling the original was not even a metal song (the slide guitar was a bit of a giveaway), they still played it their own way which had me far from thinking it was a Seasick Steve cover. This song was then followed by a proper hardcore bassline from Misha. As soon as it started I thought to myself "Don't I know this?" Ex-Instinct frontman/current 03 frontman/current Best bassist Jenia who was standing next to me then asks me "This id Pro-Pain, right?" Pro-Pain are one of my favourite bands so I was going to kill myself if I didn't recognise this. It wasn't until the "Outta my way! I'm coming like a freight train right on through ya" part of the chorus that I realised that this was Don't Kill Yourself To Live and my wish for a band out here to cover Pro-Pain is actually coming to fruition. I thought it might be one of the more hardcore or crossover bands so this is a great surprise. I of course move from my comfy spot at the bar to try and put some life in the empty space by singing along at the front of the stage. Even Lemmy coming down into the crowd for the whole song didn't really get anyone excited. THIS IS PRO-PAIN, PEOPLE!
   After a new, more hardcore sounding song entitled Lunch Time Funeral and the fairly progressive and melodic Four More Years (track 4), the band treat us to yet another new song which doesn't even have a name. The song itself reminds me of the Stampin' Ground song Officer Down. The vocals seemed to run the same and had a very similar groove (I'm using "groove" a lot in this, aren't I? I need to find a new word...) 

   All in all, I am glad I came tonight to celebrate with the band and see and hear them properly. They both surprised and impressed me with there mixture of classic metal, hardcore and thrash. The newer songs sound great and I am now very eager to hear what is yet to come. Sway For A Better Day is a great listen. The fact that it's mixed, mastered and partly recorded by the legendary (in my eyes) Mark Mynett of long forgotten Manchester electronic metal band Kill II This in itself is pretty cool. Everything is played to perfection and Yehi's vocals sound immense, sometimes even more heavy on certain tracks than others. The only thing that bugged me at first were the toms. Maybe it's because I am a drummer and I pay more attention to these things, but the toms are incredibly high pitched and also quite high in the mix. After a while, former drummer Rom's impressive musicianship trumps the actual tom sounds and it all seems to work. Although this album didn't make me jump for joy and isn't breaking any boundaries, it has it's moments and will please many a metal fan.

Live: 4/5
Album: 3.5/5

Thanks to Sharon Shapira [Facebook] for the photos.