Opeth/Katatonia Live

Nonetheless I feel slightly redundant doing this review in the wake of Dom Lawson's quite magnificent write up in Kerrang which to my mind is the best bit of journalism in that rag since a Thin Lizzy posthumous piece back in 1991. Rarely have I agreed so whole heartedly with a review and find myself wondering what to write as I simply will not be able to top it. Apologies then if I draw too heavily from it.

First off there is the matter of the support and I arrive to find Without Face on the stage. This had yours truly a tad annoyed as I did not realise they were playing and Without Face are a very promising Hungarian act who have recently released their second CD "Astronomicon". A progressive Lacuna Coil if you will (complete with foxy female singer Juliette) and with lyrics based around HP Lovecraft, their understated performance does not fail to impress. I was disappointed not to hear "In The Garden", to my mind their best song, but I may have missed this earlier in the evening. There is no doubt that with more legwork Without Face have every chance of achieving a decent sized following.

Decapitated are unquestionably the heaviest band I have seen for years and perhaps fall slightly outside of this zines remit. A group of Polish youngsters who churn out Morbid Angel riffs (never a bad start) with Cannibal Corpse style vocals but have enough technical prowess to leave an impression. The cookie monster talking between songs was a bit daft though and as a result I cannot tell you the title of a single song they played from either of their CD's "Winds of Creation" and "Nihility".

And so to Opeth, the third time I have seen them in a year. Mikael, Peter and the two Martins casually wander onto the stage and stand around the drum riser as if discussing the weather at a bus stop. The four Horseman then turn to face the crowd and let rip for a 90 minute set of such musical magnitude that it is difficult to know where to start. The sound and mix are utterly perfect, allowing all to weave their magic with their instruments, as they show once again quite what is possible to achieve with simply two guitars, a bass, and a set of drums pushing their collective instruments to the limit. Not for once am I surprised so much light and shade dominates with the absence of any keyboards. "Advent" perhaps illustrates this the best, a song which Mikael advises they have played on every tour they have ever done so "should know how to play it by now!" "The Drapery Falls" is described by Mr Lawson as "possibly the best ten minutes of music ever written", and he's not wrong as the dynamics are truly overwhelming. The 12 minute "Deliverance" receives it debut live performance tonight with Mikael seemingly concerned they would mess it up. He needn't have worried. The epic charges straight out of the blocks led by Martin Lopez's impeccable drumming, before self restraint sets in for the moody centrepiece prior to a four minute extended outro jam rivalling Neil Young and Crazy Horse at their very best. The acoustic "Credence" allows everyone a moment of simplicity in the face of such musical cacophony and the doomy "A Fair Judgement" starts reflectively before ending in a crescendo of noise. The best comment of the evening is reserved for a gentleman behind me talking to his mate; "they're bloody good aren't they?"

In between Mikael explains that he has difficulty in talking to a crowd of this size and recounts playing in High Wycombe a few years ago when only 30 people turned up. He cannot fail to now realise the devotion this band now receive from such a cross section of music fans. The harsh vocals seemingly do not put off the "prog" types who evidently appreciate quality when they hear it and the more dreamy passages still sit comfortably with your standard European death metal types. Even more surprising is the number of youngsters here whom the mainstream press would have you believe are all at home listening to the impotent fury of Slipknot. The encore of "Demon of the Fall" is the absolute icing on the cake, again emphasising the beauty and the beast that is Opeth, and is rapidly becoming their signature song.

The moment has then been and gone and frankly it is a triumph. I'd stop short of saying it's the best gig I've ever attended but only because I've seen Opeth twice before and only since I'm bound to see them again next year. I take my hat off to Mr Lawson in my closing comment; "It's this simple. If you don't already love Opeth, you either haven't heard them yet or you're a f**king idiot".

Tonight they suffer from a similar problem. There is a world of difference between writing a song (which they excel at) and performing it (which they struggle with). The chief culprit tonight is the sticksman who sadly on this showing needs to be replaced if the band are going to reach the next level. Elsewhere the delivery is not as tight as it should be and the stage banter leaves something to be desired, "This songs about a journey, it's called Joyless Journey!" - erm, quite. Still good luck to them.

Arch Enemy's recent release "Wages of Sin" sees their introducing of new vocalist Angela Gossow. Yes a woman fronting a metal act. While this is not strictly remarkable the fact that a Helen Chamberlain look-a-like sounds like Jeff Walker from Carcass is!

While I personally never had any problems with the previous vocalist Johan Liiva, there is no doubt that on this performance, she will take this band into the big time. She prowls the stage, headbangs and incites the crowd in classic Ben Ward from Orange Goblin style and could crack gonads between her larynx. "London you are the Fucking BEAST OF MAN!!" - frankly I'm petrified! Couple this with the Amott brothers on guitars, who if you do not know are simply two of the finest musicians on the planet (I could spend hours talking about their solo's alone), and man mountain Sharlee D'Angelo on bass and this is a band of serious kaliber! (sic). And what songs, "Ravenous", "Diva Satanica", "Enemy Within", "Bury Me An Angel" and perhaps the highlight "Pilgrim" with it's absolutely boll0ck-breaking riff, Arch Enemy leave wide smiles and a vacuum when they depart...

...And its just as well that it is Opeth who are filling it. If there is a better band in Europe right now, I have not heard them. Simply a one-off, somehow combining Bolt Thrower with Dream Theater to staggering effect, the fact that they are now on the brink of breaking huge is a testament to sticking to your guns rather than pandering to the latest trend. Even Kerrang some time ago gave their first three CD's upon being re-issued KKKKK each.

To be in receipt of such universal acclaim then is rare but I am going to provide some more! Opeth live can almost seem like going to a library, the general mayhem almost ceases completely and rather we stand, appreciate and applaud. For the first 10minutes or so, Opeth struggle with sound problems (imperative to their performance) but thankfully this is sorted for the mammoth "Godhead's Lament". The inspiring 15 minute "Advent" follows before "The Drapery Falls" and "White Cluster" eclipse their CD versions - some feat. Vocalist Mikheal Akerfeldt wants to know why the crowd is so quite; it's simply because we all too busy lifting our jaws up off the floor! The classic "Demon of The Fall" ends proceedings far too early and we all wander around aimlessly wondering what on earth can top this.

There's something in the water tonight, either that or I'm just desperate for a shag! The number of raven-haired ethereal Julianne Regan lookalikes is quite something. Unfortunately I turn up tonight with my mate Lemmy in tow who has a habit of washing with lard so bang went any chances we ever had!

It turned out to be an excellent night but didn't start too promisingly. Not a single XL T-shirt despite there being at least 10 designs. The bizarre excuse given was that the last show of the tour was in Germany? I assume by this our friends in Dortmund have been on the brautworst again?

Unfortunately things did not improve with Novembre. Respect to this French band for making it over to the UK but there's nothing here that hasn't been heard before. A second rate Moonspell circa "Irreligious" who themselves were a poor mans Paradise Lost with a "Gothic" fixation. Perhaps you have to have heard the material first?

Katatonia wonder whereabouts their keys went down the drain

This was essentially a double headlining affair although Katatonia have played quite frequently over here in the past year or so while Opeth have not been here for 4 years. The venue is sold out and there are dozens outside but this is Camden Underworld for fucks sake! Both bands deserve to be playing far better venues than this.

Why is it that after playing to 2-3,000 people regularly in Europe such bands come over here and end up playing in a shed?

Katatonia waltz onto the stage and these no disguising that frontman Anders Renske is a fat bastard and Guitarist Blackheim is the only one with any stage presence even though there is only 9 stones of him. Katatonia (not to be confusing with those whinging Welsh alcoholic tossers Catatonia) have honed their style over the last three albums from the primitive black-goth to a heavy melancholy and no one sounds like them. They also have the songs, "Cold Ways", "Chrome" and the irrepressible "Teargas". The nature of the hypnotic chords and the Robert Smith-esque vocals does begin to induce a coma however and it is left for the closing "Murder" harking back to an older more brutal time with harsh vocals to bring proceedings to a close with a bang.

Opeth have always been different. Anyone who writes 12 minute progressive death metal tunes has to be a bit warped but tonight they are spellbinding. Each member is a total master of his instrument. The fretwork is exceptional and we have surely all witnessed the best live drumming performance of the year. Opeth are not averse to mixing harsh and clear vocals with acoustic interludes, lead fills and bizarre jazzy breaks all played with total passion.

I have no idea however many songs they played but the first two took half an hour. At no time however does the patience begin to wane. Mikael Aderfeldt introduces a new song as "their next chart busting hit". He is having a laugh of course but the irony is not lost on anyone. To be this good when so much metal is heartbreakingly bad is a triumph. To be so underground in the face of such quality is tragic. This was a staggering hour and a half. Gig of the year - Nothing else even comes close.