Now that predictable introduction to this review is out of the way, we can move on with the matter at hand. Thankfully, the past is not something that needs too much discussion when talking about the Canadian hardcore bands third album, ‘Torture Culture’, because for the most part, this is a case of out with the old and in with the new. Of course, there will always be some comparison to their older material as it is their first LP in 13 years, but this somehow sounds like No Warning without sounding almost anything like their previous two albums.

The most notable thing about ‘Torture Culture’ from the outset is that No Warning still sound pissed off. After being a member of Terror since their dissolution, Jordan Posner is now a seasoned guitar veteran, and the buzz saw riffs traded between both him and Matt Delong during ‘Headless’ go straight for the jugular. Much of the interest will be on what Ben Cook is doing vocally this time, and he spits bile with the utmost intensity. Even the higher register, melodic lines that creep in hit the right spot.

The lead single from the album, ‘In The City’, was the perfect choice to showcase the record and the message they want to convey. It is an album of anthems from the street, with a raw and dirty vibe that makes you feel the grit and concrete beneath your feet. ‘Beyond The Law’ has all the groove of classic ‘90s New York hardcore, whereas ‘Like A Rebel’ calls to mind the crossover appeal of Leeway and Cro Mags. There’s no crystal clear production of over-use of studio trickery, save for a few vocal effects, and it has a warm analog feel with a live recording sound to capture No Warning in their real, uncompromising form.

Of course, being a No Warning record, it is not a down the middle, clear-cut hardcore record, which is where the only comparison to their previous output can be made. Cook flexes his vocal muscles in a number of ways, often accompanied by reverb and distortion of added power. The ‘clean’ passages are used sparingly during to break up the shredding ‘Unreality’, and the hardcore punk crunch of the title track. It will surely be ‘Sanctuary’ that turns the most heads, though, as the band pays homage to Alice In Chains and Stone Temple Pilots with a grunge-filled dirge and classic rock stomp. It still fits within the context of ‘Torture Culture’, and offers a reprieve from the unrelenting force of the record.

While ‘Torture Culture’ perhaps won’t lead to No Warning influencing and breaking the same ground they did the first time, they don’t really need to do that now. They just proved they can still write hard, aggressive music, and showed every No Warning copycat band of the past 15 years how it’s really done.

GLEN BUSHELL

It was a fine return to form after 2005’s polarising ‘Broken Valley’, and Life Of Agony have overcome their differences, many of them personal to the life of vocalist Mina Caputo. She is finally in that place where there is no more pain, and it shows in the charming and radiant way she carries herself on stage, and the chemistry between the band; it’s almost as if they never went away in the first place.

Before they arrive Aaron Buchanan and The Cult Classics warm the crowd up, and are not an unknown quantity given the applause that greets them. The former Heaven’s Basement vocalist has all the pomp and swagger of a seasoned veteran, and there’s no denying that The Cult Classics are a formidable band that know who to write a riff.

The problem is that it all seems a bit derivative, and for lack of a better expression, this is the definition of ‘chicken in a basket’ rock music. They sound out of place supporting Life Of Agony, whose roots are planted in metal and hardcore, and would be more suited opening for arena-bothering bands like Alter Bridge or Black Stone Cherry. That said, given their accomplished playing, that time will surely come for them.

When Life Of Agony takes the stage they instantly catapult the room back to 1993 by launching into ‘River Runs Red’. It carries on with the thick, bottom end riffs of ‘This Time’ straight into the NYHC stomp that carries ‘Method Of Groove’. Caputo extends and changes vocal passages through each track, showing her ability as a vocalist with excellent diction and spine chilling range.

It is the light to Joey Z’s guitar playing shade, particularly on the emotional ‘Lost at 22’ and ‘Other Side Of The River’, which still hit like a weight being dropped on your chest. The up-tempo drive of ‘Weeds’ shows what the airtight rhythm section of Alan Robert and Sal Abruscato can really do, and that Life Of Agony still have the ability to make you want to break down in tears one moment, then spin kick your friend in the head to the breakdowns of ‘Bad Seed’.

Rather surprisingly, the band only plays two songs from ‘A Place Where There’s No More Pain’, but they cannily chose those that sound most like vintage Life Of Agony. No doubt this keeps the purists happy, who say they “only like the first record,” but with the barnstorming groove of ‘World Gone Mad’ no one should have any complaints. They sit perfectly next to ‘Through and Through’, and as the final notes of ‘Underground’ ring out, you are left feeling like you have just witnessed a timeless performance.

After nearly 30 years of being a band, and storied history that has covered triumph and heartache, there’s no limit to what the four piece means to their devoted audience. What the future holds remains to be seen, but if the past few years are anything to go by, Life Of Agony are here to stay.

GLEN BUSHELL

On this rainy Monday night in Camden, Gatecreeper are the reason that 150 hungry metal fans have crammed into local sweatbox, The Black Heart, eager to catch the Arizona band’s first ever London show. The darkened confines of this venue are perfect for tonight’s proceedings, and the temperature reaches such a high point during Gatecreeper’s set that you would be forgiven if you thought they had brought the Sonoran Desert with them, but we will get to that later.

Before that, German death metal band Ratlord offer a lesson in brutality whether you want them to or not. With a sound that harks back to early Death, Morbid Angel, and Dying Fetus, Ratlord are as devastating as they are tight. Their technical prowess knows no bounds as they tear through tracks from their latest self-titled EP, with a hail of blast beats and guttural screams that are absolutely blistering. Their set is less than half an hour long, but they leave a lasting impression on tonight’s audience.

As Gatecreeper take to the stage, Chase H. Mason informs the room that he is sick, but is still going to “play some songs and kick some ass.” He wastes no time in proving that point as the band launch into ‘Craving Flesh’ with a flurry of chest crushing double kick beats meet a duel onslaught of thunderous, low-end guitars. It bleeds into the abrasive fury of ‘Sterilized’, before Mason tackles his past demons on the brutally honest ‘Desperation’.

What makes Gatecreeper stand out is that they forgo any ‘deathcore’ clichés, bringing the hardcore groove of early Merauder and Biohazard, and the ignorant breakdowns of Hatebreed and Shattered Realm to their classic death metal sound. The opening riff of ‘Flamethrower’ is redolent of heavy New York hardcore, before Mason’s vicious vocal delivery takes over and drives it into death metal dirge.

They tear through virtually every track on ‘Sonoran Depravation’, and no one would have complained if they had played the album in its entirety. They do drop in a furious version of ‘Force Fed’ from their original demo, before wrapping things up with ‘Stronghold’. Gatecreeper’s set seems to be over before they have even had a chance to get going, but it was a short, sharp, and devastating London show for one of the best new death metal bands around, leaving The Black Heart a mess of blood, sweat, broken glass, and by all accounts, vomit.

GLEN BUSHELL

Before that, Southampton’s Miss Vincent take to the stage, and play this small corner stage like they are headlining Brixton Academy. There some notable comparisons to another certain goth punk band from the south coast, but Miss Vincent deal more in fast-paced punk rock than theatrics. Vocalist Alex Marshall is a consummate frontman, which even if it may come across a little contrived at times, makes Miss Vincent feel larger than life. The tracks aired from their latest EP, ‘Somewhere Else’, show the start of something special, and before long they will be undertaking headline tours in bigger venues on their own.

When Energy take to the stage, Tankerly instantly shows his gratitude to the faithful that have made it out tonight, before launching into the frantic ‘Keep The Change’. It shows Energy’s early beginnings from the mid ‘00s Boston hardcore scene, and sits perfectly against the gloomy rock of the title track from their latest released, ‘Under The Mask’. The latter is one of the standout moments of their set as it is so different to the rest of their catalogue, owing more to Danzig and Ghost than it does Misfits.

Tankerly writhes around the stage baiting the audience at every opportunity. His vocal range is note perfect through the doo-wop swagger of the intoxicating murder ballad, ‘I Killed Your Boyfriend’ and brings a certain mysticism to Energy’s lyrical content, making you wonder what is going on inside his head. The double attack of ‘Leave Me Alone’ and ‘They’ towards the end of the set open a crooked door into Tankerly’s psyche, before ‘The Witching Hour’ closes the performance and leaves you wanting more.

Energy deserve to be on bigger stages and their music has the ability to capture the black hearts of people on a much wider scale. However, if it is just the underground that is in their future when you look into the crystal ball, they play with a passion that so many bands lack, and they could learn a thing or two from them.

GLEN BUSHELL

‘Penance’ is available now via Sharptone Records, and you can catch Holding Absence live at the dates below.

JULY
08 KETTERING The Prince of Wales
13 GLASGOW The Attic
14 EDINBURGH Opium
15 DUNDEE Beat Generator
16 ABERDEEN Tunnels
20 STOKE ON TRENT Sugarmill
21 GLOUCESTERSHIRE Amplified Festival
22 BRIDGEWATER Cobblestones
28 MERTHYR TYDFIL Redhouse
29 BRADFORD Fat Lip Festival
30 BRIGHTON Green Door Store

AUGUST
03 GUILDFORD Boileroom
04 TUNBRIDGE WELLS Forum
05 DOVER The Booking Hall

SEPTEMBER (w/Young Guns)
21 SOUTHAMPTON Engine Rooms
22 LONDON Student Central
23 BIRMINGHAM Asylum
24 GLASGOW Garage
25 MANCHESTER Club Academy
26 CARDIFF Globe

The track is taken from their newly announced album, ‘Rips One Into The Night’, which is released on September 1 via The Native Sound.

Pre-orders are available now, and you can listen to ‘Sun Dogs’ via the link below.

Petite League share ‘Sun Dogs’ via Consequence Of Sound

The original version appears on their latest release, ‘Temperamental’, which is available now via Bandcamp.

Check out the video below, and keep with the band on Facebook.