Bombastic? Overblown? Serenity!

... and they were absolutely marvellous.

I'm talking about the melodic metal band Serenity, of course (named after the ship in Firefly apparently).

Last night we went to a concert at Koko in Camden to watch Delain headline with Serenity and Cellar Darling in support.

The doors opened late, and it took some time to get the sellout crowd into the venue, so we missed the first half of Cellar Darling's set. Apparently there was some sort of mishap as they started, which may have put them off a little, but they sang several interesting folk-metal songs. Mostly they were accompanied by the hurdy-gurdy, as well as the usual drums and guitars, which made for an original sound; although my favourite song was one accompanied by flute instead (which I now can't remember the name of, sigh). The lead singer is definitely a talented musician.

Serenity were up next and really hit the ground running with Deus Lo Vult,  the highly dramatic instrumental which opens their new Lionheart album, continuing with United from the same album. Four older songs followed before the set peaked with the title track of Lionheart. They finished with Follow Me.

There are lots of things I like about Serenity: they are a really powerful band, musically, vocally and lyrically, yet they understand and use light and shade, heavy and gentle, slow and fast. Their frontman Georg Neuhauser, who is also their songwriter, has a remarkable voice, yet they ring the changes on vocals, with a second male voice in the band and a guest female vocalist for some of the songs.

It helps that Neuhauser is apparently a history lecturer so he has interesting things to say on the historical themes which the band so often sing about. Although it has to be said their Lionheart album is something of a whitewash of Richard the Lionheart, who was a complex and not always honourable leader: the album is more about the legend than the reality.

What about the headliners, Delain? Hmm. Koko was sold out last night, so there was a vast number of people in a limited area. Add to that a bevy of six-footers who felt they had to stand right in the centre, blocking people's view, along with the rudest crowd I have seen at a melodic metal concert: pushing and shoving their way around. I was feeling downright claustrophobic and Delain took forever to come out, so I wasn't at all enjoying myself by the time they did.

It was the last night of the tour and Charlotte Wessels' voice sounded quite badly shot to me, so maybe they had to spend time working on her throat so it could survive one final night, hopefully without damage. Wessels has a very distinct timbre normally, which was missing last night - so much so that at first I wondered if they had a guest singer themselves.

Nevertheless she hit the notes and the whole band sang and played well. A particular treat was that they did have a guest singer: Marco Hietrala, who came out and did the male vocal parts to several songs which they don't normally perform on tour; I especially enjoyed Control The Storm.

I don't really like going to London for concerts, because the journey back is always grim; the wonder of privatised rail: first-class prices for a third class journey. Last night/this morning the train was standing room only - just four coaches so what can one expect - and a points failure outside Slough added to the delight. Still we got home eventually, and it is always good to see live music.

To finish with a bit of enthusiasm: a song which Serenity sadly didn't do last night, but which I think is brilliant:-

Hot Metal

I was recently thinking about my favourite new rock bands; it struck me that out of six favourites (which one is THE favourite depending on mood and context) three are fronted by women. Of other highly-appreciated new bands a lot are FFM (female-fronted metal). Being me, I inevitably find myself wondering why - am I letting a pretty face override musical quality?

At the moment my favourite-favourite new(-ish) band is Within Temptation - I was given their Let Us Burn DVD for Christmas and I've just been watching the Elements concert. The music is fantastic, but it has to be admitted that Sharon den Adel is seriously hot. At the time of the above photo (try clicking on it) she was 38 years old and had borne three children!

Delain's Charlotte Wessels is also seriously good-looking, although in a rather different style. On the other hand, Danii Monroe from The Dirty Youth is pretty but far too young and cute for me to consider her hot.

Admittedly female-fronted metal's  female fronts do tend to be heavily (although not exclusively) inclined to corsets.

Rock music has always been about sex as well as music, of course, but I do think there is far more to female-fronted bands than that. Plus I find myself making some sort of mental distinction between 'hot' and 'sexual', which is weird when I think about it logically. Sharon den Adel in her initial Elements costume (above - doubtless highly metaphorical) looks incredibly hot, highly attractive, even sexy, but somehow, to me, not sexual. I'm strange, I know.

I enjoy the heavy end of rock, overlapping with the melodic end of metal, and hunger after creativity, expression, and a style which combines musical quality with lyrical interest. The contrast between crunching guitars and a rich soprano voice can be a wonderful experience, especially if seasoned with a light smattering of male 'growls'.

A common feature of many songs from Delain, The Dirty Youth and Within Temptation is that they tell a story, and express ideas in interesting ways. Stories about werewolves, deadly sins, or drunken nights out, told through tunes with varied musical structures, by highly talented musicians. All three also play songs of emotional intensity and rhythmic 'heaviness'. Dendera, Future Of The Left and The Virgin Marys (my other three favourites) share similar characteristics, in their varied and distinctive ways.

Of course there is also a lot of formulaic FFM around - it has become a popular musical style on the continent, and there are always those who are more interested in following a fashion than in creating something distinctive - but it remains a genre which, over the past 15 years or so, has attracted more than its fair share of original, creative and enjoyable artists. In my opinion, of course.

I hope you are having a great Christmas, and wish all who read this a happy, hopeful and adventurous new year. God bless.

Acts 8: We Are The Others

I wonder how many people have heard of Sophie Lancaster? Very few, I suspect, and those mostly either part of the goth subculture or fans of a style of music sometimes called 'gothic metal'. Sophie was a young woman who was beaten to death in a park in 2007, apparently just because of her looks (her boyfriend, Robert Maltby, who she was with, was reportedly left with brain damage). She looked different, she was an outsider, she was 'other' and so she was attacked, beaten and killed.

There is a story told in the Bible:

There was an Ethiopian, a eunuch, ... He had come to Jerusalem to worship and was returning, seated in his chariot, and he was reading the prophet Isaiah. And the Spirit said to Philip, “Go over and join this chariot.” So Philip ran to him and heard him reading Isaiah the prophet and asked, “Do you understand what you are reading?” And he said, “How can I, unless someone guides me?” And he invited Philip to come up and sit with him. Now the passage of the Scripture that he was reading was this:

“Like a sheep he was led to the slaughter
and like a lamb before its shearer is silent,
so he opens not his mouth.
In his humiliation justice was denied him.
Who can describe his generation?
For his life is taken away from the earth.”

And the eunuch said to Philip, “About whom, I ask you, does the prophet say this, about himself or about someone else?” Then Philip opened his mouth, and beginning with this Scripture he told him the good news about Jesus. And as they were going along the road they came to some water, and the eunuch said, “See, here is water! What prevents me from being baptised?” And he commanded the chariot to stop, and they both went down into the water, Philip and the eunuch, and he baptised him.

It looks like just another Bible story; I've even heard it used an example of 'how to do evangelism'. But knowing the context makes all the difference.

Here's a guy travels all the way from Africa (probably around N. Sudan) to Jerusalem to worship God. When he gets there he will have been told he's not allowed into the Temple to worship, because he's a eunuch and eunuchs aren't allowed in the Temple (strictly speaking they're banned from the 'assembly of Jahweh', Deut 23:1). He was a literal 'outsider'. So when he asks "What prevents me from being baptised," that's not a rhetorical question, more of a challenge. Baptism is how one joins this new 'assembly of God' in Jesus, and it's how someone becomes part of the Church, which is Jesus' body, which is the new Temple.

Why would this outsider, this 'other', ever think being baptised by Philip was even a possibility? The answer lies in the passage from the prophet Isaiah that he quotes; but again only in context. I deeply dislike the use of 'proof verses' - bits of Scripture ripped out of their context to 'prove' a point. One of their problems is that people then start to assume that the Bible does the same thing. Many of the early Christians will have known (what we call) the Old Testament off by heart. They would have known that the book of Isaiah is essentially a collection a passages - some short, some long - linked together. The 'sheep led to the slaughter' quote is from near the beginning of a long passage about when the Messiah comes. Toward the end of that passage it talks about eunuchs:

Let not the eunuch say, “Behold, I am a dry tree.” For thus says the Lord: “To the eunuchs who keep my Sabbaths, who choose the things that please me and hold fast my covenant, I will give in my house and within my walls a monument and a name better than sons and daughters; I will give them an everlasting name that shall not be cut off.

So, when the Messiah comes then the rules banning eunuchs will change, and outsiders like him will be welcomed and honoured. If Jesus is the Messiah, as Philip's 'good news' claims, then Jesus changes everything, especially for the 'others', the outsiders, the excluded, the different. Now they are to be welcomed into God's people ... and they are to invite and welcome others, especially the outsiders and the excluded.

According to the Bible, that is precisely what Jesus did, and what the early Church did after him. It is sad then that today's 'churches' are better known for excluding those who are different than they are for including them. Yes, there are many churches who follow Jesus in being genuinely welcoming to all, including those who are different, whose 'face doesn't fit'; but the pretend churches - really Pharisees in disguise - are louder and more often heard.

The challenge for all of us - church-goers or not - is how to welcome and show respect to those who are 'others', in whatever way:-

Delain At HMV Institute Birmingham

I got back home in the early hours of that Sunday morning utterly exhausted. My neck was tender - and promising to feel much, much worse in the morning - my hands were sore and my feet hurt, my voice was giving up and my ears were ringing: it had been a fantastic evening!

Delain were headlining at the HMV Institute in Birmingham, supported by Trillium and Halcyon Way, back on the 12th May. It was supposed to be three of us going, but my wife had a badly injured knee so it was just my daughter and myself making the long trek up the M40 - it would have been nice to have gone by train, but there was no way of getting back after ten pm so car it had to be.

After a lot of messing about finding a car park that stayed open late enough, and a long queue, we finally got in about half way through Halcyon Way's set. This was very loud thrashy metal. Their singer, Steve Braun, had a really good voice, but I felt the band as a whole simply didn't rock. Maybe they were just having a bad night, but they didn't seem to be together that Saturday. Vocalist and drummer were mostly together most of the time, but the bass and guitar players just seemed to be thrashing away in their own individual time zones. Disappointing.

Trillium were up next. I hadn't heard of them before, and didn't really have great expectations, so they were a very happy surprise. Amanda Somerville is a classic operatic metal soprano with an amazing voice, and the band behind her were very together, and very heavy, but with plenty of colour and dynamics. For a supporting band they also had a tremendous stage presence, and their energy filled the room (although, to be fair, the HMV Institute isn't actually that big). I would imagine that 'back home', in the US, Somerville/Trillium headline their own tours.

Trillium were great, but Delain were utterly unbelievable. Trillium's energy filled the room; Delain radiated presence and energy to fill a far larger venue and it was picked up and reflected back by the crowd, which inspired the band, who generated more energy, and so on. It was like being inside a kind of acoustic laser cavity, overwhelmed with such coherent energy and power.

They played songs from their two released albums, as well as from We Are The Others which is due out in early June. One of the new songs is Get The Devil Out of Me, which is a good illustration of their style that you can hear by clicking the YouTube thingie above.

On their records Delain tend to be quite song-focussed: majoring on words and tune ... still quite heavy and quite rocky, but that side is a little less to the fore. Live, they are solid, high-energy metal.

The songs are still very strong, so there's no tendency to become 'samey', as can happen at heavy rock concerts; also Charlotte Wessels has such a strong voice that the vocals don't get drowned out. The result is that songs on the album where I'd thought, "I bet that would be amazing live" absolutely are amazing live, but so are other songs where I'd just thought, "That's a nice song". Quiet songs were played with quiet power, loud heavy songs with explosive power, all interweaved with the colour and melodic interest which makes symphonic metal such a worthwhile artform.

The UK leg of Delain's 2012 tour is over now, but if you should get an opportunity to see them in the future I highly recommend them. With musical energy, intensity and authenticity they put on an amazing show: brilliant!

Stand With The Others

As you might have gathered from my last post, an anti-gay petition that was presented - and widely signed - at the church I attend really wound me up. This was for all sorts of reasons, but one key issue is that Christians should not - must not - take part in bullying those who are different and who are vulnerable.

In a few weeks' time we are planning to go and see Dutch symphonic rockers Delain playing in Birmingham, which I am greatly looking forward to: it should be a marvellous show. Delain's latest album is due to be released in June and is called We Are The Others - a title inspired by the death of a British girl, Sophie Lancaster:

The album's title track is an anthem for outsiders, with the lyrics being inspired by the hate crime against British girl, Sophie Lancaster in 2007. Sophie and her boyfriend were beaten comatose by a gang of youths, simply because of their goth look. She later died from her injuries (more info at http://sophielancasterfoundation.com) and the tragedy sent shock waves around the world. Charlotte states "Sophie's story hit close to home for us, being part of a subculture ourselves, but it's in no way an individual case. People are discriminated against all the time, to the point of violence, based on their cultural or ethnic background. 'We Are The Others' is our own 'outsiders anthem' for everybody who, deliberately or not, diverts from the norm. Whether by looking different, acting different, or choosing a different path in life than is expected from you."

I am writing this on Good Friday, a time when we remember the cruel death of a man who really was different, and who allowed himself to be truly vulnerable. The religious and civil authorities of his day crucified Jesus, whilst most of those who claimed to follow him were conspicuous by their absence - well, the male ones anyway. Yet God was on Jesus' side and proved it by raising him from death on the following Sunday.

Whatever institutional religious groups may say, those who genuinely want to follow Jesus need to find ways of standing with 'the others', with the bullied and scorned outsiders. The great thing about Jesus (one of the great things) was that he always dealt with people as individuals, not as labels. As Paul, the great letter-writing follower of Jesus, put it:

There is neither Jew nor Gentile, neither slave nor free, nor is there male and female, for you are all one in Christ Jesus.

In modern parlance: amongst Jesus' true followers there is neither black nor white, neither gay nor straight, nor is there goth, prep, emo and chav. Jesus died for each one of us, and rose again to lead us into new life. Outside Jesus' true followers these labels also have no meaning: Jesus died and rose for them also, each and every one - whatever their lifestyle or dress-sense, Jesus died for them.

It is time for the real Church, the true body of Jesus' followers, to make a stand. Stand with 'the others', stand alongside Jesus.