Posts Tagged London
Micoene were one of those bands that we didn’t appreciate when we had them, and now they’re shockingly overdue some kind of retrospective praise. Pre-dating the current resurgence in intelligent UK metal such as The Arusha Accord (there’s more to UK metal in 2008 that Bullet For My Valentine, thank fuck…), Miocene were one of a clutch of British metal bands making music outside of trends around the time of the millenium.
The band eventually released three full-length albums, and a mini-album (of which today’s track is taken). It was the mini-album that really grabbed me at the time – I’d just read Watchmen for the first time, and the rorschach blob on the cover of Refining The Theory lept out at me almost as much as the music it packaged. Closer to earthtone9 than the nu-metal apologists that made up most of the rest of young UK metal at the time, Miocene injected a spiky sense of IQ into my teenage listening habits.
And – guess what? – they’ve split up. Hey, it’s almost a Nostalgic Metal Bullshit tradition now. The London four-piece might not have sold a million records, but I like to think they had a impact on everyone who ever bought one of their CDs or caught them playing live. On the rare occasions I bump into another fan at a gig or something, then everyone always seems to a have a war story to share about them.
Okay, so the production on the drums is fucking horrible. But it was the dawn of a new century, and people were too busy angrily demanding a refund for all their redundant Anti-Millenium Bug software to care too much about drum sounds.
Anyway, your download’s below. There’s more where that came from on Miocene’s old MySpace page.
This next week is going to be a tough one – because it’s Halloween, clearly one of the Most Metal times of the year – it’s all about skulls, monsters, Satan, wearing far too much black and shouting too much. Which means I really need to out-do myself in the acts I’m gonna highlight this week. Well, considering Slayer‘s Unholy Alliance Tour is kicking off next week, with a London show on Halloween itself, I’d be well within my rights to pick one of the bands on the bill. But seeing as I launched this blog with one of those – Amon Amarth – and Slayer are almost too big to cover, so instead I thought I’d get some words in on a few acts I’ve always associated with All Hallow’s Eve.
First up are The Defiled, the best-kept heavy metal secret London has to offer. The band has been playing the toilet circuit for a few years now, supporting everyone from Dry Kill Logic and The 69 Eyes, right through to previous Heavy Metal Haiku subjects, Romeo Must Die. As well as serving up metal that’s harder than diamond drillbits, The Defiled deliver the complete package. Not only do they look like a metal band – there are far too many gangs of fat blokes in t-shirts and jeans making boring metal these days – but they’ve got the kind of live show that leaves the audience bruised, the band bloodied, and their equipment lying in pieces on the floor of the venue. The Defiled don’t do anything in half-measures.
The Defiled tearing it up at Bloodstock 2008:
The track I’ve chosen is ‘The Resurrectionists’ – while I’ve got a clutch of their older songs on a demo CD that aren’t over on their MySpace page, the quality of the recording of those tracks isn’t as good, and the band have recruited a new keyboard player and drummer since then. Actually, they’ve had a bit of a Spinal Tap-esque relationship with drummers – they’re on stickman number 10 right now. But the line-up has stabilised now, and with it so has their ferocious metal assault.
It also has the benefits of being spooky and Halloween-sounding. Track title is a slang term for grave-robbers? Check. Creepy intro involving thunder claps, screams, church bells, and a decapitation? Check? The kind of pummelling metal groove you suspect most bands would commit a Satanic human sacrifice to be able to replicate half as well? Check, check, check. The band have an EP prepped for release soon – as soon as it’s available to buy, you better believe we’ll be pointing you in the direction of where you can get yourself a copy.
Pulkas were one of the great nearly-were bands of UK metal in the 1990s. They were one of the first metal bands I ever saw live, stepping up from support act to headliner status on One Minute Silence’s ‘All Out Of Bubblegum’ tour when the headliners had to pull out. They opened up with ‘Loaded’, and the bass damn well made it feel like they were about to shake the entire Reading Alleycat down. The second time I saw them – on a tiny, 6″ off-the-floor stage at Reading University, singer Luke Lloyd (who famously collapsed a lung during a practice section when he screamed too hard) met the eyes of anyone who dared with a look of pure, unadulterated hatred. This was a band that fucking set out to kill its audience.
However a successful future was not to be – the band split after just releasing a single album, the quite frankly fucking amazing Greed. The band put this down to “boring tedious music business bulshit.” In their all-too brief lifespan, the band won plaudits from everyone who saw them – 5K gig reviews in Kerrang!, the fourth-best album of the year according to Metal Hammer’s 1998 Best Of list, and fan-voted the Best New Band the same year in said-same magazine. They received favourable comparisons to the crushing intensity of bands like Neurosis. And they thoroughly deserved every word of praise they got.
The band – sans drummer Rob Lewis – reformed briefly under the moniker of I-AM-I, but never released anything. Bassist Jules McBride showed up in Murder One, a heavy metal supergroup of sorts, which also included members of Raging Speedhorn (which reminds me, their last ever London show is on Tuesday – it’s gonna be brutal) and Medulla Nocte. But then they also split up. Why do all the great bands go and do that?
PS: There is a video for ‘Loaded’ – but it’s shit.
PPS: If anyone knows what the members of Pulkas are up to these days, drop me a line in the Comments. I really, really want to know!