A Round Up Of The Decade.

Intro:

Its getting to that time of the year where normally I’d make an album of the year list. However; this year I haven’t been buying many new releases, focusing more on boxsets of older bands and filling in missing pieces in my existing music collection. That or discovering bands for the first time. For example, even though I bought one album by them each back when I lived in Manchester, I never really got into Aerosmith or Alice Cooper properly until this year. I also expanded my Thin Lizzy collection to include the seminal Live And Dangerous and all their studio albums after Black Rose which was my previous cut off point. I’ve also been toying with getting into Opeth for years and years, but this year is the year I finally bought a bunch of their albums myself and actually clicked with them.

Anyway; with not enough new releases bought or listened to, I can’t exactly make a convincing or well informed list of 2019’s best albums, so I thought I’d focus on the decade overall instead. Its been an interesting decade personally as well as musical. I started the decade as a single tram conductor in a seaside town in Northern England, and ended the decade as a husband and father in Wales with an actual career. In terms of media, I went from only owning a few comics that were gifts, to having read thousands, from never having heard a podcast to having listened to one every week for 9 years, and from thinking blogs were silly to having written this one for nearly a decade.

Another interesting thing with this decade is that I started using LastFm to track what I listen to in mid-2011, and I had a nice milestone recently, when I found out I had listened to over a quarter of a million songs since starting using LastFM. That’s a lot of music. This year has also been the year of the most listens since joining.

What follows next is a list of what I’ve been listening to, and then a list of my albums-of-the-decade…

Part 1. What I’ve Been Listening To This Decade:

Here’s a round up of my most listened to artists of this year:

Some interesting things here. Volbeat have been my in-the-car band for most of the year, but I didn’t realise just how much music I listened to in the car. Slipknot have skyrocketed back to near top position this year, with the new album and all the surrounding excitement, as have Motley Crue with their The Dirt movie coming out and renewing my interest. Then next up are bands I got boxsets from, like Annihilator, Aerosmith and Alice Cooper (and to the lesser extent, ZZ Top). The rest is a mixture of new faces and old favourites. There’s some Hair Metal, Thrash Metal, Classic Rock and even a few Death Metal and Indie bands.  

Next up, a list of my most listened to artists since joining LastFM in 2011 (close enough to the whole decade that it gives a good picture):


Over the decade as a whole, the list is more what I expected, with favourite bands like Queensryche, Slipknot, Saxon and Helloween (who thank God, I’ve got concert tickets for next year, doing another United Alive set with Kai and Kiske back in the band, hell yeah!) at the top.

Volbeat are surprisingly high given that I only got into them at Download Festival 2018, so the majority of their listens are from this year alone.

C.O.C and Protest The Hero, while high enough, feel like they should be a bit higher still, given that I like them more than some of the bands that I listened to more often, but I guess they have fewer albums than the likes of Judas Priest and AC/DC.

Part 2. My ‘Albums Of The Decade’ List:

20. Saxon – Thunderbolt (2018) – To be honest I was struggling to decide whether to include either both this and Battering Ram or either this and Battering Ram and it was quite a toss up, but in the end I wanted to include 20 different bands and not just show too much bias for one band. Its difficult to put such a recent album in the list, that has to cover a whole decade, but one listen to ‘And They Played Rock And Roll’ and that thought is gone from my mind.  Saxon have been too good for too long that you can use terms like comeback, but this record and the one before it are just marvelous.

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19. Helloween – Seven Sinners (2010) – I only got into Helloween after this album came out, but as you can see above they have become one of my favourite bands. This is probably their best album in the 2nd half of their career, with the most metallic guitar tone, but not afraid to have a flute solo. Fun and satisfying both. There’s plenty of great material on here. Check out ‘Where The Sinners Go’ and ‘If A Mountain Could Talk.’

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18. Ghost – Meliora (2015) – Before this album came out, I was a Ghost skeptic. I thought it was all gimmick, no substance. I also expected a Black Metal band given Papa’s image. After this album came out I was a convert for sure, finally understanding what the band were going for. It varies day to day whether I prefer this album, the more metallic debut, or the more ‘70s sounding Prequelle, but I feel like this one may have the best set of songs. If only ‘Square Hammer’ was on this album instead of a nearby EP. Then it would be even higher on this list.

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17. Lamb Of God – Resolution (2012) – Not as good as their previous record Wrath, but still good enough to make it on my albums-of-the-decade list. There’s a great mix of Groove-focused ‘Redneck’ clones, a grand semi-progressive closer, a doomy concussive intro, and even a Sex-Pistols referencing speedster. Highlights include ‘To The End,’ ‘Ghost Walking’ and ‘Desolation.’ History hasn’t been too kind to this record, but given how much of it they still play live, I’m glad the band still believe in it.

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16. Accept – Stalingrad (2012) – The album before it introduced new singer Mark Tornillo, formerly of TT Quick, but this was the album where everything gelled. Brilliant songs, brilliant production, great fired-up performance. I guess I am a bit sentimental about it as it was the first new Accept album in my time as a fan, but there’s more to it than just personal attachment. This is pure heavy metal perfection. There’s nothing flashy, no gimmicks, but you can’t argue with the quality of the material.

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15. Architects – All Our Gods Have Abandoned Us (2016) – The band were on a roll with the last two albums, and then this one evolves it even further. I flip flop between favouring this album, or the previous one, Lost Together // Lost Forever, as this one has more passion and feels more like an artistic triumph, and the other has more bangers and catchier tunes (in context, for a band as techy as this, catchy is a relative term).

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14. Queensryche – Queensryche (2013) – I also could have included their The Verdict album from this year, which has some higher highs, but this one is more consistent all the way through. There’s just something about these songs that really chimes with me. When Todd sings that ‘’with God as my witness’’ bit in ‘Where Dreams Go To Die’ I get chills nearly every time. I have no time for people who don’t give Toddryche a chance. I like albums like Tribe and American Soldier, but I love this album. Comeback of the decade? Quite possibly.

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13. Black Country Communion – S/T (2010) – Its hard to choose a favourite BCC album as they are a very consistent band and everything they’ve done has been gold. However, this one has probably the best set of songs of the lot. Opening with ‘Black Country’ and going into ‘One Last Soul’ next is almost criminal! Leave some talent for the rest of us.

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12. Mastodon – The Hunter (2012) – Mastodon’s most commercial, catchy and instantaneous album. The four albums before it are better. However that’s only because Mastodon are one of the greatest bands out there. If this was a band’s debut album, the media and fans would loose their absolute shit over this. Its not just all comerical and accessible though, it is quite an ecclectic release too. If a band can put ‘Curl Of The Burl’ ‘Black Tongue’ and ‘Creature Lives’ all on one record, you’re onto a damn special band there.

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11. Rishloo – Living As Ghosts With Buildings As Teeth (2014) – Speaking of special bands; Rishloo are a truly special band. Seattle’s answer to Tool, but so much more. After they broke up, I was pretty bummed out. The reunion album was one of the better reunion albums I’ve ever heard. A perfect continuation of the band’s legacy and the introduction of some of their finest material to date. Tracks like ‘Dark Charade’ ‘Winslow’ and especially ‘Just A Ride’ are perfect examples of what make this band stand out from the crowd. There’s just something magical about this band when they really let loose. The fact that this band are not millionaires is one of the greatest crimes in music. Manowar once sand ‘’If you’re not into Metal, you are not my friend.’’  Quite often I feel like if you aren’t into Rishloo, you are not in your right mind.

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10. Trivium – The Sin And The Sentence (2017) – Pure and simple, this is Trivium’s best album. The best production, the best drumming, and the best fired up, ‘’balls out, let’s just go for it’’ performance. This is the sound of a band playing the fuck out of songs they believe in. Ascendancy may be their equivalent to ‘Burn My Eyes’ but this is their ‘The Blackening.’

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09. Volbeat – Outlaw Gentlemen & Shady Ladies (2013) – I haven’t been into the band for long enough to feel like I have the right to include them on this list, but damn, just look at how much Volbeat I’ve listened to this year, I’d say I am catching up quickly enough. Choosing a favourite album is tough, as I came to the band late when they have so many albums and all of them are so good and all my favourite songs are scattered across all of them. I also more often listen to the band more on shuffle than I do listen to them on an album basis, which makes it even harder. However, when I think of Volbeat, I think of standing in the Summer sun, listening to ‘’a little tale about a shady lady called Lola’’ (as track ‘Lola Montez’ was introduced live, the song that made me fall in love with the band). To top that off, this album has everything, from the groovier metal track ‘Dead But Rising,’ as well as the speedier metal track ‘Black Bart’ and the King Diamond influenced and guest-featuring track ‘Room 24’ in addition to big commercial hard rock moments in ‘Cape Of Our Hero’ and country flavoured ‘Lonesome Rider.’ There’s a bit of everything here, and some very high highlights.   

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08. Killswitch Engage – Disarm The Descent (2013) – So many concert favourites. Many singles. A great mixture of the heaviness and aggression of the early days, and the melody and songcraft of the Howard Jones era, arguably eclipsing any album from either previous era. A damn fine album, with some of the band’s all-time best songs on it; ‘In Due Time’ ‘The Turning Point’ ‘The New Awakening’ and ‘You Don’t Bleed For Me’ I mean, damn, that’s more 10/10 songs in one album than some bands have in a career. Along with Clutch below, the album on this list that feels the most like a greatest hits compilation.

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07. Creeper – Eternity In Your Arms (2017) – Best debut album I have heard in a long time. This album is a fiendishly catchy mix of drama, melancholy and fun. Perhaps a bit too emo-laced for most of my readers to get into, but with amazing song-writing, surprising depth & complexity, and very lively performances. Astounding vocal diversity and damn catchy choruses to boot! So good I played some Creeper at my wedding! If you don’t know this band, but like any pop punk or emo, do yourself a big favour and check out ‘Suzanne’ or ‘Black Rain.’    

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06. Against Me – Transgender Dysphoria Blues (2014) – Its hard to disentangle the music from the story behind this. The concept very much in tune with what was going on in singer/guitarist Laura Jane Grace’s real life. It feels kind of cheap to talk about bravery or try and explain what she must have been going through, but it is difficult to talk about just how superb the lyrics and vocals are without doing so.

‘Black Me Out’ for example, is one of the best vocal performances of anyone in this list, for its sheer raw emotion and pure honesty. I’ve never heard more anger and disappointment and raging against the machine in one song. Listen to the audiobook of her autobiography, especially the bits about the therapist and the blacking out of the old tattoos, then listen to this song, and you’ll be moved near to tears. It also helps that the music is 10/10 perfection. That drum fill on the title track is more fun than any Green Day album this decade.

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05. Machine Head – Unto The Locust (2012) – It must have been difficult following up The Blackening, which is rightly seen as an absolute classic nowadays. That album saw such a serious turnaround in the band’s public perception, and was one of their most musically accomplished works to date. I’ve been a Machine Head fan almost as long as I’ve been a Metal fan, and The Blackening absolutely blew my mind when it was new. But The Blackening isn’t even my favourite Machine Head album, and that’s because they managed to write something even better, they managed to write Unto The Locust. ‘Darkness Within’ is such a memorable and emotive track. Album closer ‘Who We Are’ after a questionable children’s choir intro, is a Manowar-referencing red blooded heavy metal odyssey. Opener ‘I Am Hell’ manages to marry the speedy and the mid paced parts of The Blackening and congeal them into one track that covers it all. The title track is still the song I want to hear the most live out of any song in their discography. I think the album’s real success is that there are only eight tracks, all of which are necessary. There’s no fat, no filler.

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04. Letlive – Fake History (2011) – Definitely one of the more unique albums on this list. I’ve heard it described as a mixture between Glassjaw, Old Dirty Bastard and Michael Jackson. I mean, I wouldn’t have used those reference points myself, but all I know as it is one of the most memorably, hooky, well constructed and explosive albums I’ve heard in recent years and there is a damn good reasons its looked upon as a modern classic. Masterpiece is an understatement.

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03. Protest The Hero – Scurrilous (2011) – Sometimes Protest The Hero get a bit of a ‘the wacky band’ tag because of their on stage banter, music videos and Roddy’s personality in interviews, but when it comes to music, they are dead serious. Definitely the most progressive album on this list, no one has ever made music that sounds like this before. People have made technical metal before, people have made prog metal before, people have made metalcore before, but there is no one out there that sounds like Protest The Hero. My favourite album from these unique Canadians is the superb concept album Kezia, but that wasn’t released this decade. My next favourite album is the diverse and eclectic third album, Scurrilous. There are more ideas per song here than many bands have on the first side of an album. There isn’t one weak track here, it’s a whole album of solid gold, but highlights include the very impressive ‘Sex Tapes,’ the lyrically captivating ‘Cest La Vie’ and the powerful ‘Dunsel.’ I can’t say enough about this underrated genius of a band. Please check them out if you haven’t yet.

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02. Clutch – Earth Rocker (2013) – Clutch are one of the best bands on the planet, and they have a broad and varied discography that covers a lot of musical ground, with many fingers in many musical pies. However, I always like them best when they are focused and rocking hard. Earth Rocker sees the band at their most laser beam focused, and is arguably the hardest rocking album of their whole career. What is not to love. Every song on here is a banger. This has more quality songs than most greatest hits albums. Anthemic and raw in equal measure, with so much fun and personality, and one of the best lyricists in the game. A real treasure of an album, from a real treasure of a band. If you don’t own this, fix that as soon as you can!

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01. Parkway Drive – Ire (2015) – Before this album, PWD were one of the better bands in the subgenre. On this album, PWD became one of the best bands in the world. There are songs on this record that will never not be one of my favourite songs, for the rest of time. The sheer amount of all time unarguable classic tracks on this is damn near criminal. How can one band write something as brutal as ‘Crushed’ as catchy as ‘Vice Grip’ and as interesting as ‘Writings On The Wall’ on just one album? How can they come up with the venomous ‘Destroyer’ and the pounding ‘Dying To Believe’ in the same writing sessions as the heroic sounding ‘A Deathless Song’ ? How can a band with a vocalist who never sang clean before this record have such a varied vocal approach just all of a sudden? How can a band who were originally marketed to me as a decent Killswitch clone, suddenly turn in a better modern metal album than Slipknot or Machine Head did this decade?

(Honourable mentions to the new Slipknot album, which probably deserves to be here but as I’ve not had it long enough I don’t feel I can include it yet, and Fear Factory’s Genexus, which was in here before I counted properly and realised I actually had made 21 entries).

I went to go see Parkway Drive with Killswitch Engage live in Cardiff Motorpoint Arena tonight, (February 1st 2019).

I went to go see Parkway Drive with Killswitch Engage live in Cardiff Motorpoint Arena tonight, (February 1st 2019). It was my second time seeing Parkway, after they decimated Download Festival and were so powerful that they made Guns N’ Roses, even with all their money and with Slash and Duff back in the band, still pale in comparison. It was my third time seeing Killswitch, who I had seen supporting Bullet For My Valentine on Incarnate and Headlining over Trivium on Disarm The Descent.

I wasn’t sure if the gig was going to go ahead though, as it had been snowing prior and I was afraid (given that we live in Britain and they close down all the schools if a snowflake looks at them funny) that it might be called off, but luckily by the time I needed to leave, the roads were clear. (This must sound funny to my Canadian readers, but seriously, google ‘frozen Britain’ and see what the British reaction to snow is like).

Rather than arrive late and hang at the back like I did for Architects a few weeks ago, I new I had to be in the front row. Parkway at Download had whetted my appetite, and I needed more.

So I got there just as doors opened and didn’t have to queue in the post snow chill, but got to walk right to the front without any trouble at all.

The speakers usually play the same few songs at all the gigs I go to. Walk by Pantera, Snap Your Finger Snap Your Neck by Prong, Sad But True by Metallica, Psychosocial by Slipknot.

Not this time. They played some obscure hardcore punk. I couldn’t pin point anything I recognized from my meager 20-30 album Hardcore punk collection. I am not an expert, but I heard something that sounded like or was early Suicidal Tendencies (pre-Thrash) and something that sounded like but probably wasn’t Black Flag.

Not important, but just, different that basically every concert I’ve went to since 2012.

To open the evening where Deathcore lads, Thy Art Is Murder. Their front-man announced he regretted eating fruit around the start, and ended up barfing on stage around the end. He was a weirdly unprofessional burping, farting lads lad who was very charming, like how Orange Goblin‘s singer won me over with his topless enthusiasm a few months ago. Their music was Deathcore, which I am not too familiar with, but I know Metalcore, and I know Death metal, and its basically a mixture of that. There were death growls and blast beats, but there were beat downs and grooves. They were fun enough, and their guitarist has a fun sweeping style of leads/solos that reminded me more of Periphery or Dream Theater (or the Periphery song with John Petrucci from Dream Theater guesting on it). The drummer was very fun to watch, he was very inventive as a blast beater, and did it in more ways than I knew existed, and alternated hands and speeds and cymbals the way Tommy Lee would for a rock beat. They even had a catchy bit in ‘Puppet Master’ where the intro sounded a bit like Lamb Of God‘s ‘Redneck’ gone evil.

I enjoyed them. A much better support band than Beartooth had been last time. I’d be happy to see them again. A heck of a lot more than Asking Alexandria had been at Download. Generally, one of the better modern bands I’ve seen supporting people I like, but whom I didn’t know the support act beforehand.

It takes strength of the mind

Then the room got a bit fuller. After a Thin Lizzy ‘Boys ‘Back In Town intro; metalcore legends Killswitch Engage took to the stage. I have written before about how utterly majestic KSE are live, and how captivating it is when a whole room full of people sing ‘The End Of Heart Ache’, with its big long…

”This distance
This disillusion
I cling to memories
While falling
Sleep brings release
And the hope of a new day
Waking the misery
Of being without you”

…all done in perfect time, in its entirety. As a music fan it is one of the purest joys you can experience. Its crazy how good it makes you feel. And the band are always such fun, with Adam D clowning around like a hyperactive toddler making better masturbation jokes than Blink 182 ever did and brightening up the room with his infectious sense of fun and his big smile.

You knooooooooow me, you knooow me all too well!

I’ve also said before that Jesse is one of the, if not the, greatest live singers in the genre. Almost no-one can sing cleans that well live. He is a master of this type of music. Sam Carter, Ashe O’Harra and Jesse Leech are probably the best clean singers I’ve ever seen with my own two eye. Up there with Maynard incomparable James Keenan.

They played a set-list that was mostly greatest hits (Rose Of Sharyn, My Curse, End Of Heart Ache, All In Due Time, My Last Serenade) with a few early numbers (Fixation On The Darkness, Breathe Life) and it was more compact than any other time I’d seen them but no less potent.

The crowd seemed to really, really love ‘Always’ too, and Jesse doing the very last line while the band were all silent was some Freddie Mercury level skills. They played the two best songs off the new album too, (‘Hate By Design’ and ‘Strength Of The Mind’) which are even better live than on record, with more of a crushing Pantera groove to them.

Darkness will give way to light

Speaking of better live; ‘My Last Serenade’ is so, so good live. Joint with ‘End Of Heartache’ for the most audience participation (and augmented by all the fun guitar squeals and extra shenanigans) it is just excellent live in every way. And of course, they finished on my favourite Killswitch song, the fantastic ‘All In Due Time’ which turned me from a Jesse-reunion skeptic into the kinda guy who goes and sees em three times even though I don’t go to that many gigs.

Building a revolution to heal nations

If it was over then, it would’ve been enough. A solid opener, and mighty Killswitch doing themselves proud with a perfect set-list, excellent performance and decent sound & lighting. That would’ve done me nicely as a gig.

But I wasn’t ready for what happened next.

Now, I’ve banged on and on in this blog numerous times about how good Parkway were at download festival, and if you’ve met me in real life I’ve probably talked about how Ire is a modern classic that deserves to have the reputation sort of The Blackening has. You’ll have noticed the new album Reverence was high in my most played albums and highly ranked in my end of year list for this year just gone.

Well, that’s about to get a whole to more, because I have just seen. The. Best. Show. Of my whole life. No qualifications. No caveats. No exceptions.

I am not been hyperbolic. I am not exagerating. This was the best concert I have ever seen in every way. Visually, muscially, sonically, intangiable x-factor magiaclly. It was absolute bliss.

The set-list leaned heavily on the newest two albums, with just one song from Atlas and Deep Blue each, and two songs from Horizons, but otherwise all newer stuff since the change in direction.

The sound was immense, and the cruch and chug of big riffs like ‘Absolute Power’ or ‘Crushed’ was immense and made you pull that satisfied ”riff face” even harder than usualy. My view was perfect for most of the show, with a spot where I could see every member and even every cymbal on the drum kit. And the band’s performance was so bombastic, confident and commanding that it felt like witnessing something truly extraordinary.

The way Winston would sweep his hands or stomp his feet, or when he got topless and the end and would throw fists, always timed to some musical highlight like a conductor or film director was so entertaining. He is such a fucking golden rock star like we were back in the 1980s again. Having only been born as the ’80s died, its great someone is that for this generation and I don’t just have to read about it in old books.

The crowd were so into it, doing a gigantic circle pit during ‘Idols and Anchors’ and clapping along to the drumbeat in ‘Writings On The Wall’ like it was ‘We Will Rock You’ by Queen. They sang out not one or two but five or six songs guitar lines like when you see footage of Maiden or Megadeth playing South America. It was a brilliant vibe.

And that’s all without mentioning the fucking sheer spectacle of it all. If you haven’t been paying attention, it might be surprising to learn that Parkway Drive have become one of the most explosive live bands of the modern era. (Or any era).

The evening started with a dubstep or electronic noise while various lights were going off on the empty stage, with crazily loud concussion bombs going off to match the ‘the truth drops like a bomb’ lyrical theme.

Behind use, we could feel heat. Then in unsion we turned and saw that the mixing desk behind the crowd had pyro on it. And then the band, marched through the middle of the crowd, carrying flaming torches like a strange religious ceremony until they got up on stage. Then, wearing matching black outfits like some kind of Apple technology expo, they moved in choreographed and weirdly alien or robotic unison until the music really kicked in after the intro.

Crushed by the fist of god

Attention, attention, welcome to the stage

The first few songs they played in a tasteful white lighting set up. But it just got bigger and bigger.


You never miss your shadow
Till you’re alone, alone in the dark

There were various lights. And then there was smoke. And then there were fire balls. And then there were towers of fire. And then there were rows of fire. And then there were hydrolic platforms going up and down. And then there was a string quartet.

And we all go to heaven in a little row boat

Let’s get this straight, while you’re listening


And then there was an acoustic moment somehow behind the audience again. Then there was mini fire works. Then lights, lasers and fire together. Then well timed concussion bombs, like literally going ‘bang bang bang’ when Winston sang ‘bang bang bang’ in ‘Absolute Power.’ There was a Kiss-esque shower of sparks from the ceiling bouncing off their heads.

We’ve been waiting for the sky to fall!

At one point he came out with a bottle, and a rag in it, and set it on fire for real with a real lighter, and tossed it onto a big floating PWD shield, and there was really well timed explosives that made it look like he blew it up. And they just kept adding in more and more pyro and explosives until it looked like the whole building was on fire, and Winston would sweep his hands and flames would match the directions, such as during ‘Crushed.’

The truth drops like a bomb
Bang, Bang, Bang, drop the hammer of conscience


Between the spark and the ember
You are smoke threading the wind

Messages written within our columns of fire
No life blooms from the ashes of ire

Slayer had more pyro than I expected on their Farewell tour, but this made them look like a bar band with a packet of sparklers. It was almost Rammstein levels. At one point they had everything going off all at once in complete strobe light sensory overload destined to trigger epilepsy and PTSD sufferers in a way I would genuinely advise them not to attend due to. Absolute bloody war. I’m surprised health and safety let them get away with it to be honest.


Burn your heaven, flood your hell

Bombastic doesn’t do it justice. It was so well thought out and planned, cribbing all the best ideas from Motley Crue and Kiss and updating them with touches of Maiden and Rammstein and Tool but somehow feeling like a really cohesive and excellently orchestrated performance piece than a cobbled together greatest hits of concert ideas, the spectacle side of things was off the charts.

And all that being said, if they had have came out in day clothes and played the same set in an empty room with not so much as dry ice or a single light, it would’ve still been the best concert I saw in the last decade purely on the utter majesty and perfection of the performance. Songs like ‘Vice Grip’ are so goddamn triumphant sounding that when you see it live you feel like your team won the world cup. Songs like ‘Wishing Wells’ and ‘Chronos’ are so well constructed that you feel like a tween discovering the love of music for the first time. Songs like ‘Wild Eyes’ and ‘Karma’ are sing along fun that you just don’t have enough of as an adult. And best of all, ‘Bottom Feeder’ and ‘Crushed’ just level the place. When he sang ‘Now snap your neck to this’ and the payoff riff after the build up came in I got the kind of euphoric rush normally exclusive to a wedding day or the birth of a child. Ok, that’s a bit of an exaggeration, but the best part is…not by much!

Speaking of the birth of children. This will probably be my last concert for a while. Ozzy with Judas Priest got cancelled due to Ozzy’s ill health (just like my first ever Ozzfest, Ozzy didn’t play due to a quad bike accident.). My son is going to be born just a few months before Kiss say farewell and Download rolls around again so as much as I love music I’m not traveling for any of that this year, and so far nobody seems to be playing in between now and then.

As a last concert for a while, possibly of the year, I could not have asked for a better one. Hands sown the best concert of my life so far. If you ever get the chance to see Parkway live I advise and border on demand that you go. I hope to high heaven that they release a live DVD from this tour. This is how live music is done!

Until next time…