2012 Two Thousand Trees Festival Review

Finally! After a long wait (almost a year, would you believe it!) 2000 Trees weekend came back around again! Even weeks of torrential rain—and a campsite muddier than Buzz Osbourne’s guitar sound—couldn’t hold back the festival at the core of the U.K. underground scene from showcasing just how exciting British music is right now (unless you only listen to Radio One, of course). While there is lots else about the festival to discuss, this has been covered on previous reviews, so I shall focus mostly on the music.

Local legends I, The Lion kicked things off in the Cave on Thursday for those with early entry passes. Featuring wonderfully tight harmonies, great big guitars and super-catchy tunes, the post-punk band encompass a hint of Biffy Clyro and appear destined for great things (7.5/10).

If you haven’t heard of Tall Ships yet you need to catch up. Now. A truly unique band, their captivating live set somehow managed to interweave math-rock rhythms and a post-rock sensibility with gloriously accessible tunes and hint of the nautical. Songs like Plate Techtonics and Chemistry danced around your head while others like Books grew and built into something very, very special (8.5/10).

Cave headliners Three Trapped Tigers then mesmerised a packed out tent. Playing numbers from their first three E.P.s combined with tracks from their debut album Route One Or Die, the band put on a phenomenally tight performance. Sounding a bit like an instrumental Mars Volta on speed with a powerhouse drummer, Three Trapped Tigers are one of the most exciting bands in the country right now and at 2000 Trees, they showed exactly why (9/10).

Oxford quartet Gunning For Tamar opened the main stage on Friday with intricate math-rock guitar work, interesting time signatures and a charming yet atmospheric sound (8/10) before Maybeshewill enhanced their already epic, post-rock sound with the addition of live violin and cello parts. The guitars, synths, samples, drums and strings built into a phenomenal crescendo which left the audience gasping for more. They also played a second set in the Cave on the Saturday after Rosa Valle pulled out and concluded with the epic journey that is He Films The Clouds pt. 2. (8.5/10).

Post-hardcore mentalists Marmozets played a technically impressive set in the cave. While the stage energy was simply insane for a band as complicated as Marmozets and singer Becca Macintyre has an impressive scream, the performance just didn’t quite flow as it should. This band has a lot of potential but hasn’t quite reached it yet (7/10).

Later on, main stage headliners 65daysofstatic braved a small crowd due to horrible weather conditions to deliver an almost flawless set. Pounding sampled and live drums propelled the band forward as they strayed into the dance/rock category during Radio Protector. However, the band soon delved into their first album, The Fall of Math, on songs I Swallowed Hard Like I Understood, which twisted and developed into a gloriously satisfying resolution, while the intricate musical accomplishment Retreat Retreat was somehow captivating, dark and enchanting. Despite the rain, a superb set. Although it helps to know the songs before seeing them live (9/10).

Brother & Bones opened the main stage on Saturday and with their folky yet gritty sound which washes over you and yet always has enough of interest to keep your attention. The added dimension of a second percussionist, amongst other things, marks them out above lots of lots of generic folk bands. (7.5/10)

Back over to The Cave and post-rock/metal instrumentalists Brontide played to a packed-out tent. Their carefully crafted set was very very loud and reached a phenomenal peak during the simply epic Matador. (8/10)

Arcane Roots have as much potential as just about anyone in the U.K. underground scene right now. Drawing upon post-hardcore (At The Drive-In, Fall Of Troy), progressive (The Mars Volta, Tool) and alt. rock (Biffy Clyro) influences, the band create a uniquely exciting sound. Having played material from debut album Left Fire, combined with a number of new songs, the band sounded tighter and more chaotic than ever before. They also seem to have pioneered the charge-around-the-stage-while-finger-tapping technique, as well as knowing exactly how to write a song-a-long chorus. A short but stunning set. Mark my words, these guys are going places. You better go catch them before they go stratospheric (9/10).

Continuing his record of playing every single 2000 Trees festival, Jim Lockey delighted an overflowing Leaf Lounge (although it was a shame he didn’t play Atlases). The folk-punk troubadour is now in charge of his own record label and is definitely moving on to big things (8/10).

Then came the moment that we were all waiting for... Hundred-motherfucking-Reasons bitches. Despite the main stage space resembling a swamp rather than a field the crowd went absolutely wild and created an atmosphere that was simply magical. The mosh (read mud) pits created an incredible, communal energy and the sun even came out just as they launched into playing the whole of their first and greatest album Ideas Above Our Station. Their catchy, sing-a-long tunes grab you by the scruff of the neck but also manage to take you by surprise again and again. Sounding just as fresh and relevant as when they almost took over the entire U.K. alternative rock scene ten years ago, before they broke up, the only shame was that this was one of the only performances they will give before they call it a day for good. Catch ‘em while you can. (9.5/10)

This just left Cave headliners Future of the Left to close a very special weekend.

Grungey yet infectious punk tunes showed why 2000 Trees are so excited about this band. One of the few genuinely political bands right now, Future of the Left make you think and get you dancing at the same time. Short and sharp tunes like Sheena is a T-Shirt Salesman grab you by the scruff of the neck, while Robocop 4 – Fuck off Robocop expresses a much-needed lament on the tediousness of movie re-makes and Failed Olympic Bid discusses the presence of the Olympics as a great big distraction from real social problems. Future of the Left is a mighty and powerful band that makes sure they get their message across. However it is the simple and infectious synth riff of Manchasm that is their centrepiece and it is most effective in getting the crowd unstuck from the mud. (9/10)

Last but not least, I must mention the beautiful Greenhouse stage. Situated at the picturesque location at the bottom of the hill on the far side of the campsite, it was the perfect place to relax and watch the sun set or huddle under the canopy while it poured with rain. Featuring excellent comedians, musicians and musical comedians such as Mark Diamond, Horse and Louis, Luke Sital-Singh and Ben Marwood to name but a few, it was a wonderful place to get away from the muddy chaos and just chill the fuck out for an hour or several.

All-in-all then, another fantastic Trees weekend… a third of the price of Latitude and probably three times as good! It might be the fact that the organisers made this festival because of a genuine love of music, it might be the reasonably priced bars and the decision to allow you to take your own drinks anywhere, it might be seeing the organisers getting personally involved in pushing cars out of the mud, it might be the improvements made year-on-year, it might be the phenomenal line-up and the friendly people or it might be all of these things put together but…as I have said a hundred times, there is something quite magical about 2000 Trees Festival and I shall see you next year with bells on.

There's Something A Bit Special About 2000 Trees...2011 Festival Review

There’s something a bit special about 2000 Trees Festival. One minute I was enjoying my second festival in as many weeks and the next I was coming to the realisation that I fucking love this festival and everything about it.

It is what every small festival should be. There is a noticeable effort to reduce its environmental impact as much as possible. There are also some of the nicest and friendliest people around, from the organisers, to the stewards, to the bar staff and the bands. Furthermore, the food, toilets and drink options are just about as good as any festival I’ve been to and you don’t feel like they’re trying to suck you dry for every possible penny, the way you do at most festivals. Most of all however, they book some of the best and most exciting underground bands and musicians in the U.K.

For its 5^th Anniversary, some changes have been made to 2000 Trees. It seems bigger (although capacity hasn’t actually increased), more organised and a bit more grown up. That said it hasn’t lost any of its intimacy or warmth. The best addition to the site is the ‘Cave’ stage, featuring up-and-coming hard-rock, alternative, progressive and metal artists. What’s more, the Main Stage boasts a far superior sound, the Leaf Lounge (for mostly acoustic, indie and folk acts) has expanded and the carbon-neutral Greenhouse Stage (for comedians, smaller acts and DJs) has been moved to a more remote and picture-esque location. Because of my taste in music I ended up spending most of my time at the Cave and Main Stage and so these are the bands I will focus on.

Thursday

Maybeshewill showcased their innovative post-rock style of fusing guitars and soundscapes in an engaging set in The Cave. Their exceptionally tight set produced an impressive show with a great amount of rhythmic and timbral variation. However, they didn’t quite have the magic that they perhaps could have done, maybe due to playing along to what sounded like a backing track, although this was nonetheless very professionally sutured into the music. (7/10)

Local favourite Jim Lockey then warmed up for his main stage slot later in the weekend with his heart-warming punk-folk stylings. However, this set didn’t quite set the place alight like his set last year in the Leaf Lounge; the atmosphere just fell a little flat in comparison, perhaps due to a half-full tent compared to a completely rammed out barn (Leaf Lounge) in 2010. (6/10)

Sucioperro then closed the proceedings for Thursday night with their Scottish styled, alternative rock. However, the performance just lacked a little spark and any really electrifying riffs that could grab you and not let go. Close friends with Biffy Clyro, unfortunately, Sucioperro just feel like a somewhat less exciting version. (5/10)

Friday

Frank Turner’s backing band Dive Dive got things going on Friday and showed that they are more than competent in their own right. While perhaps lacking the magic that Frank provides, they have their own unique style and put on a good performance. (6/10)

Mojo Fury then revealed their interesting alternative rock sound in ‘The Cave’. They fuse big riffs with carefully crafted songs and Michael Mormecha’s unique vocal sound. The Northern Irish group are clearly one to watch out for in the not-too-distant future. (7/10)

Kong are weird. Really weird. The first thing you notice is their bizarre clown style face-paint/masks. However, you quickly realise that their music is just as weird as their appearance. But this does not mean it doesn’t work; heavy guitar work combined with weird time signatures and crashing screamed/sung vocal sound actually sounds kind of awesome at times. (7/10)

Unlike so many hardcore/rock/metal bands around these days Exit Ten steer clear from mindless screaming and as a result have a much greater impact. Having gradually built up a national following, their new material sounds as good as anything they have done before and there is no doubt another step up the ladder for this exciting Reading-based band. (7/10)

Next up, over on the main stage were ‘Trees regulars Twin Atlantic. Their alternative rock sound combined driving riffs with big choruses and of course, their characteristic Scottish twang, in hit songs such as Lightspeed. However, their newer material sounded comparatively weak and this year’s performance pales into comparison with their fantastic set last year. (6/10)

The King Blues then gave a complete change of pace on the Main Stage. Their innovative fusion of street hip-hop with Ska-Punk is inevitably great fun. They got the whole crowd dancing and singing along to songs such as Save the World, Get the Girl despite the dreary weather. (7/10)

There is a reason that 2000 Trees’ band booker; James Scarlett describes And So I Watch You From Afar as “just about the best live band in the country at the moment”. Despite never having listened to them before, I was totally blown away. Their instrumental fusion of guitars and synthesisers in a post-rock, progressive style is simply mesmerising when witnessed live. Rhythmical and hypnotising yet always taking you by surprise with a multitude of twists and turns, ASIWYFA are a staggering tour de force. (9/10)

Saturday

Zun Zun Egui got off to a slow start in front of a relaxed crowd on the Main Stage. However, as you start to listen to them you realise that they are actually very impressive musicians. They have an eclectic sound, with tribal, African rhythms combined with Indian-style melodies and intricate, Hendrix-esque guitar work. All in all they are fascinatingly entrancing once you tune in, and show that Prog is still as relevant as ever. (8/10)

Imperial Leisure are just about the only band that can match The King Blues for fun. A hatful of good tunes in a ska-punk style with a smattering of Reggae…what’s not to like? Also, as is not uncommon at ‘Trees, the band can be found partying on the Main Stage just minutes after their set has finished, in genuine, ‘we’re just normal blokes’ fashion. Just about sums up the festival doesn’t it? (7/10)

Three Trapped Tigers don’t blow you away the moment they take the stage, but their unique synthesiser/guitar, dance/rock fusion slowly creeps up on you until you can’t tear yourself away. What’s more, their drummer is phenomenal, with unusual rhythms aplenty. Yet another band to watch out for! (8/10)

Any band with a name like The Twilight Sad must surely be awful right? Wrong. These guys play a textured brand of indie rock not dissimilar from Glasvegas or White Lies and are very good at what they do. However, while they clearly have a positive future ahead of them, they unfortunately don’t quite have the songs to take them stratospheric, and after a while they just feel a bit samey. (6/10)

Just about the heaviest band at ‘Tress, Devil Sold His Soul rock! They possess infectious energy and are rewarding with lively mosh-pits from the go. Although, their screaming vocal style is a little bit tedious after a while, their set is a great example of the exciting places that post-hardcore, British metal is going these days. (7/10)

While most people at the festival were at the main stage watching Frightened Rabbit, those who chose Amplifier instead were hugely rewarded. Their atmospheric, Oceansize meets A Perfect Circle, Alternative/Progressive Rock sound is brilliantly crafted. Thunderous, chugging riffs combine elegantly with soundscapes in a truly unique way. Despite playing to a relatively small crowd, this group are probably the most under-rated band in the country. Given a symbolic 5 minute longer set than anyone else at the festival, songs like Intestellar are mesmerising. While they perhaps didn’t quite reach the heights of ASIWYFA the night before, and at times the performance felt a little cold, what they lacked in warmth they more than made up for in awesome! (8.5/10)

So, another year, another 2000 Trees: it is a measure of their success that they sold out months before the festival this year. They have made leaps and bounds in terms of organisation and layout within twelve months, with the addition of communal busking points around the site - an absolutely genius idea! In conclusion, there were tens of great bands but And So I Watch You From Afar stole the show, closely followed by Amplifier. Having said that, the atmosphere is more than worth the ticket price alone, I simply can’t think of a single reason I wouldn’t want to return every year!

Sonisphere 2011 Festival Review

Sonisphere 2011

Friday

Japanese Voyeurs kicked things off in the Bohemia tent with their raw, grungy sound. Unfortunately some of the songs seemed a little samey and it has to be said that the lead singer’s vocals didn’t cut through as well as they do on record. Her voice seemed more whiney than powerful at times. Nonetheless, they carve out a unique and interesting sound and showed that they do have some good songs. Their cover of Nine Inch Nails’ Closer was cool as well. (5/10)

Megadeth got the main stage crowd roaring with an exciting set. They showed arguably the most considered performance of all the Big 4, with A Tout Le Monde and Peace Sells sounding particularly impressive. The air guitars were out in force; however, they could have perhaps played a better set list and they didn’t quite have the wow factor that Metallica seem to produce at every show. (7/10)

Metallica’s set was probably the most highly anticipated of the weekend (aside from Slipknot) and they did not disappoint; reeling off the hits such as Master of Puppets, Seek and Destroy and One. They are simply brilliant musicians who seem incapable of playing a bad show. Things really got impressive when they ended the main set with Fade to Black into Enter Sandman, showing their depth of song-writing and awesome riffs. Then came the moment we were all waiting for… James Hetfield invited the members of Diamond Head, Anthrax, Megadeth and Slayer onstage for a huge jam on the song Am I Evil – a special moment which will no doubt go down in rock history. They then rocked on with Battery and ended with the brutal Creeping Death. Brilliant band, brilliant set, my only qualm is that they have played so much in the U.K. recently that it was impossible to get away from this being another Metallica set. Although a great performance - made special by the Big 4 moment, I have now seen them three times at festivals without ever buying a ticket directly for them. They really need to take a year or three off touring in Europe so that they seem fresh again. (8.5/10)

Saturday

Weezer were just absolutely great fun. Kicking off the weird but catchy tunes with The Sweater Song, Rivers Cuomo got the crowd going despite the damp weather. They quickly got things going with the huge Beverly Hills followed by their take on the legendary Teenage Dirtbag which somehow just suits the band perfectly. We were also treated to old favourites My Name is Jonas and Hash Pipe before a surprisingly innovative cover of Radiohead’s Paranoid Android. They then moved into recent hit Pork & Beans before ending with one last sing-a-long for the awesome Buddy Holly. Surely, even the most ardent metal-head must have left that set with a smile on their face! (8/10)

The Mars Volta – stunning, simply stunning. The Mars Volta absorb you into their weird, prog-ed up world of Latino melodies, Tribal rhythms, Jazz fusion jams and Rock Epics. The whole set flowed seamlessly into each other and completely took our breath away. Very hard to describe the set without actually experiencing it, it was just one of those moments when your jaw drops to the floor and stays firmly lodged there for the duration of the set. They even played their most epic song, The Widow – truly a joy to behold. Flawless. (10/10).

Biffy Clyro – safe to say this was the most controversial booking of the weekend, there was even a facebook group called “Biffy Clyro to Die Before Sonisphere 2011”, when they were booked to headline alongside Slipknot back in December. The metal-heads just weren’t having any of it, it seemed… That is of course until the ‘Biff actually took to the Apollo stage on the Saturday night. Usually when they open with cheesy single The Captain my heart sinks a little bit, but not tonight: they sound raw and heavier than ever. Somehow live, they lose all of the over-commercial, over-produced pretentiousness that has been all too present recently and just become a great big rock band. Suddenly what seemed like an incredible gamble six months ago just makes perfect sense. Of all the U.K. rock bands that have broken through into mainstream success over the last five years or so there is no doubt that Biffy possess the greatest depth of song-writing, with a show covering (nearly) all bases; from the furious 57 to the dancey sing-a-long Born on a Horse and the epic 9/15ths. Biffy Clyro have deservedly the step up from a weird, cult rock band with a tiny fan base to festival and arena headlining Juggernaught, with second guitarist Mike Vennart adding a depth to their sound previously found lacking. Although there is perhaps too much emphasis on their latest (and in my opinion weakest) album Only Revolutions, old fans’ favourites There’s no such thing as a Jaggy Snake and Glitter and Trauma are enough to satisfy the more enduring Biffy fan. For me, the highlight of the show however, was All the Way Down: Prologue Chapter 1, with the slow, intricate opening building into one huge crescendo. And, while ending with Mountains is perhaps a little too predictable (I’ve now heard them play it ten times!) this is a very impressive Biffy performance and they will have no doubt won a lot of fans over in the process. Inevitably some metal-heads will refuse to give them the time of day, but a Raining Blood snippet, heavy sounding guitars and epic tunes will have done wonders for their reputation. The sky is the limit from here: they just need to release a record that sounds as good as they do live. (9/10)

Sunday

Arch Enemy’s Angela Gossow showed that you don’t have to have balls to sing with guts. Although death metal isn’t really my thing, they do have some impressive tunes and were fairly enjoyable. (5/10)

Mojo Fury performed to a tiny crowd on the Jagermeister stage but carved out an interesting grungy, alternative rock sound with tinges of hardcore and prog not too far away from Biffy Clyro or Pulled Apart by Horses. They also have some excellent songs and are definitely ones to watch, would not at all be surprised to see them on the main stage in two or three years. (7/10)

In Flames really got the crowd going during their mid-afternoon slot. The Swedish melodic death metal group went down a mosh-pit filled treat on the Saturn stage. However, they suffered from a terrible sound, with the bass guitar and the kick drum flooding the low end. Personally, I found them a little bit underwhelming, and only really got into one or two songs despite the reception they got, although in fairness it must have been next to impossible to follow the chilling yet communal experience that was the two-minute silence for Paul Grey. (6/10)

Mastodon have been making a name for themselves in the metal scene for some years now and this performance more than lived up to their reputation. They have an entrancing prog/metal sound which keeps you guessing but arrives where you intuitively want it to go. The contrast of the screamed and sung vocal styles gave the performance a great amount of depth as did the unusual rhythmical elements. Although I didn’t recognise a single song they played I found their set highly enjoyable. (8/10).

The most under-rated band of the weekend, Amplifier played an absorbing set to couple of hundred fans and onlookers on the Jagermeister stage. One of the most interesting British rock bands around at the moment, it was just a shame was that they were only given half an hour. Playing mostly material from their latest album, The Octopus, they create a wonderful prog-rock soundscape similar to the likes of Oceansize and Porcupine Tree with the driving rhythms of A Perfect Circle. This band deserves to be MUCH bigger than they are. (8/10).

“Hello Castle Donnington!” Opeth’s frontman Mikael Akerfeldt amusingly proclaimed as they took to the Saturn stage, somewhat setting the scene for their quirky and original performance. Taking wide-reaching inspiration from prog rock to death metal to jazz, no-one sounds quite like Opeth. Although they have a steep learning curve from a musical perspective, when you listen to the music live, as a primary activity, all the initial hesitancy about their recordings washes away. While perhaps not to everyone’s taste, the change of pace and build up of their songs are simply phenomenal. Moreover, Akerfeldt possesses an uncanny amount of wit and charisma which makes the stage banter almost as enjoyable as the songs themselves. I was uncertain what to make of this band before I saw them live, and although the music is all too easy to let wash over you, tune in and you will be as impressed as I was. (8.5/10).

Not a band to be taken too seriously, Limp Bizkit have the fun factor in spades. Opening with Hot Dog, from the Chocolate Starfish and Hot Dog Flavoured Water album that we all grew up with, before ‘Jarnardo’ (drummer John Otto) takes us to the Mathew’s Bridge in My Generation, the packed out Apollo stage loves every minute of this performance. Their heavy riffs and cheesy choruses start wild but friendly mosh pits and Fred Durst even takes the audience’s request to launch in to the frenetic Break Stuff and then the awesome sing-a-long My Way.  We even get treated to a cover of George Michael’s Faith before EVERYONE is Rollin’ with their hands in the air for Limp Bizkit. (8/10)

While the tension and anticipation was noticeably building to a peak for headliners Slipknot, Bill Bailey offered some light entertainment on the Saturn stage. Unfortunately, while his performance was great fun the sound on the stage completely let him down. His voice was almost inaudible for large parts of the set and it wasn’t until later on that he could be fully appreciated.  His uniquely British sense of humour and his knowing ability to play on musical clichés was at times exceptional, especially during his Love Ballad and a couple of brand new songs such as The Majesty of Emo and Asda. Bailey’s love of metal shone through on his ‘Rammstein’ version of Scarborough Fair and his tooting horns cover of Enter Sandman but the show was sadly let down by a dreadful outdoor sound. (7/10).

The rain clouds gathered and so did the masses. The 60,000 Sonisphere attendees (not to mention the half a million fans watching on the live webcast) collected around the Apollo stage to witness the return of the mighty Slipknot, an event which many feared would never happen after the tragic death of bassist Paul Grey just over a year ago. The atmosphere had clearly been building to this one moment all weekend but to be honest the ‘Knot got off to a slow start despite the classic red boiler suit costumes. It wasn’t until the third song Wait and Bleed that the main stage became loud enough for the band to make the impact that they wanted to. From then on in it was a ride. And what a ride. Before I Forgot rang out across Knebworth Park as the multi-instrumentalists tore it up in impressive style, with each member possessing as much charisma as most entire bands. It was lead singer Corey Taylor however who really stole the show, seamlessly following heavy screamed vocals with pitch perfect clean sections. The Pulse of the Maggots and Left Behind really turned the screw as the heavy, thick and dense industrial sound of this band stole the weekend. Clearly an incredibly emotional set for both the band and its spiritual family Psychosocial and Disasterpiece were nothing short of epic. Sid Wilson then climbed the sound desk and threw himself into the crowd on the first drop on the chorus of Duality. As the concert progressed, the riffs only got heavier, building on each other like an incredible weight about to be released. The release came during Spit It Out as Corey invited the entire crowd to simultaneously get to its knees before JUMPING THE FUCK UP. A completely breathtaking moment as 60,000 fans found themselves jumping around in one giant mosh pit. They weren’t quite done however, emerging to complete the set with the awesome People = Shit followed by the frantic Surfacing. The band then gathered together for an emotional and fitting tribute to Paul Grey, with his mask and boiler suit remaining on stage over a recording of Till We Die. In conclusion, Slipknot’s set was almost too intense; a staggering end to a staggering weekend, none of which will be forgotten any time soon by anyone who was privileged enough to witness it. (10/10).

Reviews by Asher Kenton

Lyric interpretation of "Third Eye" by Tool

My understanding of the lyrics in the song ‘Third Eye’ by Tool

By Asher Kenton

Type of Article: Song Analysis

Please remember that ideas expressed in this article are only opinions. The lyrics are purposely written to be ambiguous in order to lead to many different interpretations. Here are mine.

To understand the ideas expressed by lyricist Maynard James Keenan in the song ‘Third Eye’ by the band Tool, we must first look at the band’s writing process, the wider social context of the period it was written in and its context within the Tool catalogue.

The song appears as the last track on the album Aenima. Thus it serves as an epic, 13 minute conclusion of all the ideas expressed on the album. This includes the discussion of the Shadow, the Anima and Jungian Psychology – the philosophies and ideas which form the backbone of the lyrics in songs such as ‘46&2’ and ‘Anema’. Also considered is the emotional conflict of ‘selling-out’ to make a record on ‘Hooker with a Penis’ and ideas of violence and conflict on ‘Pushit’. However, the main theme of this song is the idea of opening one’s “third eye”. The third eye is a metaphor for the expanding of one’s knowledge and creativity centres in the mind, as well as being the centre for spirituality and out-of-body experiences. However, third eye theory has a very physical basis; it is placed on the face, in between one’s regular two eyes as an extension to one’s seeing power (perhaps the ability to comprehend non-physical notions), this is where the pineal gland is located. The pineal gland is responsible for producing serotonin and melatonin, which not only regulate sleep patterns but are linked with the hallucinogenic and intense physical effects of certain drugs such as cocaine and LSD. Descartes referred to the pineal gland as “the seat of the soul”, thus highlighting its importance when considering issues of spirituality. The spiritual nature of the “third eye” is also supported by Hinduism, although Hindus cite the concentration of chakras between one’s eyes as the reason for our spiritual and creative properties. Hindus paint red dots on their foreheads to highlight this area’s importance. Thus there is a biological, spiritual and philosophical basis to the ideas that inspired the lyrics in ‘Third Eye’. Furthermore; these lyrics place a large emphasis on the notion of opening one’s own third eye in the search for spiritual enlightenment, an idea that will be explored in greater detail later on.

The album that the song appears on, Aenima, was released in 1996, meaning that it was written in the two or three years that preceded its release. This was a tumultuous time for music, the ‘grunge’ and ‘thrash metal’ movements were rebelling against the inflated glam rock scene of the 80’s, with bands like Metallica, Nirvana, Rage Against the Machine, Tool and many more attempting to create a more genuine rock sound which people could relate to. And while Tool’s music is complex and hard for many people to get into, they offered a more intellectual take on the stripped-back, power-tune approach of a band like Rage Against the Machine (who incidentally are good friends), while essentially having the same goal. However, they nevertheless achieved cult-status in the alternative rock and metal scene of the early-mid ‘90s. The scene of this time will have no doubt infiltrated their song writing, however, Tool create a very unique sound, and write music very much on their own terms. The album Aenima is considered by many fans as being their greatest piece of work, and is written in order to be considered as a single piece of art. Thus the lyrics in ‘Third Eye’ must be considered within their social context and their context within the album.

Another crucial social factor is the death of their great friend and legendary comedian Bill Hicks in 1994, whom the album was dedicated to. Hicks worked closely with the band, opening for them on a number of occasions, and they bonded over social and political issues as well as a mutual appreciation for mind-expanding substances such as Magic Mushrooms. Three samples of Bill Hicks’ routine are used at the beginning of the song ‘Third Eye’, which express the importance of drug-taking in the last few decades and contempt for its’ criminalisation, “it’s not a war on drugs, it’s a war on personal freedom O.K? Keep that in mind at all times”. The sentiments sampled here are thus referenced by the band and expressed in the words of their great friend.

A crucial issue to consider when analysing the lyrics of a band such as Tool, is that they firmly place music first, and lyrics second. The lyrics are therefore an attempt to match the mood and emotions of the music rather than vice versa. Adam Jones’ guitar part is played mainly on beat, in a 3/4 time signature. However, the guitar emphasises different beats at different times, leading each bar to lead on to each other, blurring the distinctions between each musical phrase. This gives the song a trippy quality, which is enhanced by the unique drumming style of Danny Carey, who manages to keep time despite moving into all sorts of duple, triple and quadruple rhythms, on top of the on beat 3/4 time signature of the guitar parts. At times he even moves into polyrhythm, playing lots of rhythms on top of each other. This simultaneously anchors the song, and progresses it forward, therefore influencing the lyrics of the song, as it served as the starting point. The trippy and visual lyrics of the song, “dreaming of that face again. It’s bright and blue and shimmering” match the feeling expressed by the other instruments by indicating a visual reference of something that could be real or hallucinated. Furthermore, the industrial guitar sound at parts of the song sound almost like a furnace, which is matched in the simple, yet brutal lyrics “Prying open my third eye”. This also portrays some kind of creation, be it personal or more wide-reaching, as may occur in an industrial factory. While this interpretation may seem somewhat far-fetched, it is important to remember the huge influence of the sounds of dreary industrial life of midland England on pioneering metal bands such as Black Sabbath, who in turn were a big influence on Tool.

A central part of these lyrics is Maynard’s attempt to open his own third eye through tripping on hallucinogenic substance DMT. These trips are known for a more intense trip than LSD and can last for days, even weeks. They have been associated with out-of-body experiences, life-changing moments and intense spiritual experiences. However, these lyrics are less focused on the specific nature of the trip (as later on expressed in the song ‘Rosetta Stoned’) but more with its life-changing characteristics and Maynard’s attempt to open his third eye. All members of the band have experimented with hallucinogenic drugs, and thus the song serves to express the impact this has had. The song builds into a crescendo, where the line “PRYING OPEN MY THIRD EYE” is sung/shouted/screamed repetitively. This idea comes from Bill Hicks’ claim that through mind-expanding substances one can “squeegee open” their third eye, and is the dramatic conclusion and resting point of this epic song. Many people actually consider the physical nature of Maynard screaming these lyrics (especially live) as being an attempt to not only literally pry open his own third eye but those of his audience as well.

In the rare ‘Salival’ live recording of this song, the Bill Hicks sample is replaced by one by Timothy Leary, “think for yourself, question authority…” Leary was a Harvard PhD and lecturer who conducted much research on the healing effects of LSD trips. He found that many criminals who had one LSD trip had such a profound life-changing experience that only 20% of them re-offended, compared to the standard re-offender rate of 60%. The band therefore reference another advocate of the values of hallucinogenic drugs, thus further highlighting the profound impact they have had on the band and many others in opening up levels of consciousness otherwise seemed incomprehensible.

At certain points in the song, the lyrics take on a childlike quality, “Come out to watch you play, why are you running away?” This may refer to the déjà vu nature of hallucinogenic trips, how they can bring back memories that have been buried so deep inside they have been almost forgotten. It is possible that these are repressed, painful memories which are stripped back during the trip and can be understood in a new light, perhaps leading to personal healing, “So glad to see you, I’ve missed you so much”. A Freudian analysis of these lyrics could suggest a primal desire for the unrequited love of one’s mother, and they could also refer to the desperate, dependant, and emotionally immature nature of childhood romances. Therefore, this verse indicates the basic human desire to be loved which is captured during trips due to the access to parts of the brain that were previously closed off, and memories that had been all but forgotten.

In summary, the lyrics of the song ‘Third Eye’ by Tool are inspired greatly by the profound nature of trips on hallucinogenic substances such as Acid, DMT and Magic Mushrooms. Furthermore they take on a deeper, more philosophical nature due to the impact these drugs had as serving as tools to open one’s third eye, and expand their levels of understanding, spirituality and consciousness. The song also must be considered within its social context and its place within the Aenima album. Moreover, the song (and the album) is dedicated to a great friend and comrade, and the ideas expressed within it are those that the band and Hicks explored together.

“Just About the Best Live Band on the Planet Right Now”: How Muse Rocked Wembley Stadium to its Very Core

“Just About the Best Live Band on the Planet Right Now”: How Muse Rocked Wembley Stadium to its Very Core

By Asher Kenton

Type of Article: Gig Review

As Muse embark on their 2^nd sell-out Wembley Stadium show this summer (their 4^th in total), after also headlining Glastonbury Festival this year for the second time, they are, in the U.K. at least, a band with nothing to prove. In front of 90,000 or so dedicated fans, Muse tore down a fully-packed Wembley Stadium with a stunning set, re-asserted their reputation as the best live act in the world.

After excellent support from Biffy Clyro and White Lies, the wait was finally over, and Matt Bellamy, Chris Wolstenholme and Dom Howard took to the stage. Preceded by protesters holding up signs declaring lyrics from the recent album such as, “They shall not control us”, “These wars cannot be won” “We will be victorious”, they plunged straight into new hit “Uprising”. While not to everyone’s taste, it set the scene for the politically charged theme of the evening, before moving on to the electric “Supermassive Black Hole”. New instant-hit MK Ultra, with its huge riffs, then began an evening full of moshing, enhanced with a breakdown riff borrowed from “Township Rebellion” by Rage Against the Machine. “Map of the Problematique”’s sensational effect-laden guitar intro drove the show forward, before the joyous, though fundamentally average “Guiding Light” gave the audience just a second to get their breath back. Before long however, they powered back into the huge riffs of “Hysteria”, charging around the stage while seemingly never out of breath. The band then sent the crowd wild with long-time fans’ favourite, the phenomenal “Citizens Erased”; the huge rising fifth guitar intro, soon given full depth by the band before the ecstatic chorus and introspective outro gave way to another hardcore fans favourite, the obscure B-side “Nishe”.

Stunning visuals were supported by the giant stage setup. Masses of giant screens made up adjacent walls above where the band stood. This was a visual treat, especially during songs such as “United States of Eurasia” and their unique take on the Nina Simone hit, “Feeling Good”. A central stage then rose up from the ground high into the air, allowing bassist Chris and drummer Dom to show off their skills, jamming on an “MK Ultra” riff before moving into “Undisclosed Desires”.

Mass sing-a-long then ensued during “Starlight” and the “Time is Running Out”, the latter inspired moshing and singing in equal measure. And just when it seemed as if the gig was coming to a beautiful close during “Exogenesis: Part 1: Overture” accompanied by a giant UFO with an acrobat attached to it as it moved around the stadium, the band inspired an exhausted crowd with more heavy-as-hell riffs during “Stockholm Syndrome”.

The best had been saved for the encore however, as front-man Matt Bellamy, wearing a silver sequin suit (and earlier a suit made entirely from LED lights), rode the rising central platform during the epic “Take A Bow”, controlling the 90,000 strong crowd with only a guitar and a microphone for company. Matt Bellamy then joined his bandmates to launch into guitar classic “Plug in Baby”; as the thunderous, rising riff filled the huge venue, the huge crowd responded in force, worshipping this juggernaut of a live act. Inaugural set-closer “Knights Of Cydonia” then ended the evening as fans were given one last chance to go crazy. Emerging battered and bruised but mostly just awestruck, the crowd filtered slowly filtered home after a 2 hour and 15 minute, 23 song, breath-taking show.

All in all, the stage show and visual effects were a joy to behold. However, it was Muse’s collection of roof-raising, guitar-riff laden super-hits, along with their showmanship that make this band just about the best live band in the business right now; an inspiration to younger generations and a lesson in how to combine an overblown and gigantic stage show fitting for such a large arena, with killer rock tunes. And while some of their new tracks are perhaps a step down from their best work, they allow the audience to catch their breath before it is taken away yet again by these three oh-so talented performers.

Another Reading Festival, A Very Special Show: How Arcade Fire Stole the Weekend

Another Reading Festival, A very special show: How Arcade Fire Stole the Weekend

By Asher Kenton

Type of Article: Festival Gig Review

When Montreal-based seven-piece art-rock band Arcade Fire were announced as Reading and Leeds Festival headliners back in March, the reaction amongst all but the cult bands biggest fans was one of uncertainty. Many people were actually wondering who they were and the general consensus was that they were not big enough to headline such a large festival. However, in the months that preceded the festival, many more fans listened to their music, learned to appreciate it and by August, they had a number one album and a sell-out arena tour. Although they had a relatively small crowd for headliners on the Saturday night of Reading Festival (due to competition from Pendulum, Bad Religion and Ash on other stages) the 40,000 or so who turned up were rewarded by an epic, spiritual and special Reading Festival show, one that no-one who was there will forget.

Arriving bang on time, Win Butler took a dig at the previous night’s headliners Guns n’ Roses (who had arrived an hour late on stage) by stating, “at least we’re punctual, right?” The band launched straight into “Ready to Start” from their latest album and then into the classic “Keep the Car Running”, to the delight of the crowd. Accompanied by stunning visuals, the chilling yet triumphant “No Cars Go” then summed up much of the night, encapsulating all that is good about the band: vast instrumentation, dark yet optimistic lyrics, beautifully harmonised vocals and ultimately unstoppable melody. So much so that as the song ended and the band went quiet, the thousands in the crowd continued to sing the lead riff together, as frequently happened during the gig in between songs; rarely has a field full of strangers felt drawn together so closely. The stunning set continued with the wildly chaotic noise of “Roccoco” which moved onto a slower rendition of new favourite “The Suburbs”.

The set included an excellent balance of the band’s three albums at typified by their movement from the visceral “Crown of Love” (Neon Bible) into the pulsating “Neighbourhood 1 (tunnels)” (Funeral). At this point, it was time for Règine Chassaigne to take vocal lead of the band in new song “Sprawl 2 (Mountains Beyond Mountains)”. Already a fans’ favourite, the track allowed Règine’s charming and cascading vocal to shine through; the crowd were transfixed by the trance-like and delightfully melodic nature of the song. Règine danced freely around the stage holding the crowd by her little finger and asserting herself as one of the most interesting and engaging female singers of the last decade, somehow exuding charm, grace and sexuality without falling into the trap of many exploited female rock singers. The band then moved into yet another stunning new song, the charmingly reminiscent “We Used to Wait”.

By this point, the audience knew they were soaking up a very special show indeed. However the real high-point had yet to emerge. Win Butler and co. threw themselves into “Neighbourhood 3 (Power Out)” and as this segued into “Rebellion (lies)”, the band built up one of the most incredible musical moments witnessed at Reading Festival. The end section of “Neighbourhood 3 (Power Out)” led into an orgasmic wall of noise as the audience stood and absorbed this aural treat. Gradually the chords from “Rebellion (lies)” were integrated into the wonderful noise, until the sound was stripped back leaving simply the bass guitar and piano playing the intro as this segue allowed the glorious “Rebellion (lies)” to shine through. The vocals then built up again during the verse before the audience helped the band sing the triumphant chorus. A simply spectacular piece of music that really has to be experienced to believed.

The band went offstage but were soon called back for an encore, completing their set with the thundering guitar chug of “Month of May” and finally, their greatest song of all,  the beautiful “Wake Up”. From the first opening of the grungy, stripped back guitar chords, to the eruption of the crowd singing along to the glorious, emphatic and powerful vocal line, into the innovative breakdown section, this song was yet another highlight of a superb set. As this very special show ended and the crowd began to disperse, it was this enchanting melody which inhabited the minds of thousands of Arcade Fire fans and onlookers who were humming it long into the night.

The Arcade Fire live performance itself was a joy to behold. Not many bands include a furious violinist, someone playing a synthesiser, an electric pianist and two drummers pounding away amongst guitar-driven orchestration. Although the male/female vocal harmonies are a treat, the band is not simply about the lead singers either, with every member showing their energy and passion throughout. Win Butler showed his gratitude for the fans, declaring, "It's nice to meet you! Look, we've never had a hit song, so I don't know what the fuck we're doing here, but until someone comes with a hook we're going to stay", before thanking the crowd for letting them share “Nirvana”’s stage, a humble moment from a band that well deserve the plaudits that they are attaining.

Despite Reading Festival gradually becoming more commercial in the last few years, this Arcade Fire performance was truly a booking of a great band over a large band. A big risk, one might say, but one that, for those who chose to see them at least, paid off and then some. For me, despite enjoying a superb weekend of music all-round, Arcade Fire stood head-and-shoulders above even legends such as Guns N’ Roses, The Libertines, Weezer and Blink 182. The atmosphere was stunning, as those for whom this wasn’t their thing were off seeing Pendulum, Ash or Bad Religion. However, for those who chose to witness such a special event, this show will not be forgotten in a hurry, and will no doubt go down in Reading Festival folklore. 

Axl Rose embarrasses himself further at Reading Festival

Axl Rose embarrasses himself further at Reading Festival

By Asher Kenton

Type of Article: Festival Gig Review

Although not the same as the original line-up, Axl Rose and co. were a much anticipated headline act at Reading Festival. They of course have loads of classic tunes and a very competent group of musicians. However, despite putting on a good show, great in moments, they were ultimately let down by Axl Rose’s ego. Although he is notorious for his his unprofessionalism, the festival organiser, Melvin Benn assured fans before the event that Axl and friends could not turn up late, otherwise they would not be allowed to play past the 11.30pm curfew. However, this didn’t stop them, Axl Rose, dressed like a cowboy and botoxed to within an inch of his life finally decided to walk on stage a full hour late, after many fans had already given up. Despite delivering a competent effort, their unprofessionalism and childishness undermined the whole performance.

Okay, so before I go into the details of Axl Rose’s behaviour let’s talk about the gig itself. Opening with “Chinese Democracy”, although not their finest work, set the scene nicely for the storming “Welcome to the Jungle”, a real classic which was a pleasure to hear live, despite some slight mis-timed pyrotechnics. Stellar classics “It’s So Easy” and “Mr Brownstone” came next; however as the gig wore on, one couldn’t help feeling that the elaborate stage show and pyrotechnics were compensating for, rather than adding to Axl Rose’s vocal performance. Although he still has one of the great Rock n’ roll screams, he appeared breathless a number of times throughout and often missed the opening syllables to vocal lines, as he just about managed to keep up. Furthermore, the endless guitar solos, although impressive, seemed a bit over the top, which is acceptable, nay encouraged if you’re Slash, not quite so much if you’re a hired session guitarist. Also the multiple-minute long piano solo before “November Rain” was just unnecessary. Therefore, the Guns N’ Roses show was pretty good, in fact classics like “Sweet Child o’ Mine” and “Nighttrain” were fantastic to hear live. However, one is ultimately left with the feeling that it’s not quite the Guns N’ Roses we know and love, as all but two of the original members have left, and Axl’s voice is fading.

Therefore, while the concert itself was enjoyable, Axl Rose’s attitude was not. The band finally arrived on stage at 10.30pm, an hour late, and a full one hour forty minutes after sub-headliners Queens of the Stone Age had departed. They give no apology, or even reason as to why they were late. Thus seemingly, Axl Rose just likes to keep his fans waiting, because he sees himself as that important. He has the ego of a man who has been told that he was a god, has had unlimited money thrown at him since he was nineteen years old and he certainly hasn’t grown up. As GnR came back to play an encore, the time reached midnight, the final sound curfew for bands at Reading Festival (the original curfew is actually 11.30pm). Thus, unsurprisingly the power was cut. This threw Axl into a tantrum, who staged a sit-down protest, swore about the organisers and promptly refused to play Leeds Festival (he ultimately backed down after he was faced with a massive lawsuit for breach of contract). Now, in an ideal world, bands would continue to play all through the night. However, this is England, and sound curfews for festivals have to be adhered to. If they are not, this could result in a festival being treated less favourable by local councils, and ultimately could result in losing its license. Therefore, the organisers were given no choice but to pull the plug, being forced into a difficult position due to a band deciding to come on extremely late for their performance. Axl Rose personally claimed on his Twitter page, “we feel at the very least the fans deserve an apology from those responsible for the nonsense” (implying the organisers). However, the only person responsible for this “nonsense” is Axl himself and his refusal to treat his fans with the respect that they deserve, and it is him who should be apologising.

In summary, while the gig itself was enjoyable, the whole thing was tainted by off-stage events. So much so that the whole thing seemed like a total shambles. These events, coupled with being boo-ed offstage at their own gig in Dublin just days afterwards, should signal the end of Axl Rose and support group shaming the bands tremendous legacy. However, Axl’s inability to sort his attitude out, and still wanting to exploit the band-name for every penny means that no doubt Axl will continue to embarrass himself and blemish anyone associated with him. Now we now why Slash and the other original band members won’t go anywhere near him.