Live Reports   


Artists : OriginFatal AgonyMSDF Stands For Fuck You
Place: Lyon (France)
Hall: Lyon’s Hall
Date: 2009-04-27
Audience: around 100 all blacks

F Stands For Fuck You for starters!

The « opening bands » must always expect to nail the audience. This is the case tonight for the grinders of F Stands For Fuck You. However, the band from Saint Etienne plays an original and effective grind: their riffs are a proof of that fact.

This is one of the points that distinguish FSFFY from the other: melodies converge style allied with the groovy sound of the late Nasum, spiced with a good fire that Napalm won’t disaprove. Another originality that can make a difference in the band: the rhythm section. Of course, we know that the power of extreme bands is measured by the drummer talent And this is where we can see that FSFFY made some wise choices. Their tastes are simple: they take what is best. And in the area, drummer speaking, it can mean Kevin Foley, aka Kikou of Benighted.

If in the mosh parts Kevin demonstrated a singular punching power, he also shows a great velocity in the blasted parts. And well, Kikou, he’s a bit the freakshow of the evening: « Well let’s go and see what the other band of the Benighted’drummer is worth » that we could hear tonoght by coming into the hall. But this is a good thing: to wet the curiosity of our dear metalheads!

The drum n ‘bass is certainly one of the surest weapon to put in motion an audience, still you had to boost the bass. Indeed, the problem is that the bass is as quiet as Alexis, the bass player, while the volume is so high that it becomes downright unpleasant. However, Adrien wants some and it shows: he violently scratched his guitar as it should be throughout the whole set. He also will not hesitate to get down into the pit to shake the most petrified.

Do not let go a bit !

Do not let go a bit, here is a slogan that FSFFY followed down to the book. It is certainly unpleasant to play in front of a still crowd. Of course. Worse if you start to believe that they’re not really open to your music. But this is a chimera that you really need to ditch before going on stage.

Some love music and they do not feel the urge to illustrate that fact by jumping in all directions or even by headbanging. A band can thus score without having any notice of the fact. And if you get some original grind, this is obvious. They do not deliver an « asymmetric grind », as did the very promising Jumping Jack Riot, but rather a grind that has a depth of sound that gets them definitely closer to the hardcore done by Converge.

To cope with this curse of a harsh audience, you therefore need a melody to stand out, some drum n ‘bass to pound and thus to have a chance to see waving brainpans, but you especially need the following: a band that is not hooked on the audience mood. A combo that can take some pleasure, albeit simple, in playing, but better a simple pleasure that the feeling of being a worthless shit.

One last thing caught our attention on FSFFY: the lack of voice. Do not believe that Adrian emits a soft mewing honoring Arielle Dombasle, or that his voice is especially exciting. Oh no, we even has a nice shouted intro at the beginning of « Cry and Pain » which sounds like « Casey Chaos » from the band Amen.

So everything goes in that direction, even if the piercing shrieks of Mieszko do not have the same power of rallying than the bellows from Barney able to wake up a whole Gulag. The point is not to dismiss unexpectedly the current singer. Quite the contrary: more vocal parts, either the shoutings or the whisperings, would be welcome.

When you look at the Attic orators, the incantatory power of the shamans or mediacracy contemporaries, how can you still ignore the power of voice?

Cry And Pay
Melo 2
The Burial
Longue 2
Rock And Sanne
Sick Of It All
Rise Up
Bow Down

MSD : an ironclad good spirit!

The combo that takes over is MSD. Do not look too far the meaning of this symbol: like the guys from JMPZ, MSD are none other than the initials of each band members. Mick, Did Seb then take over with, what may be called in all sincerity and with a natural courtesy, a ballsy trash. The game of seb is communicative: it is powerful, it is jovial.

The problem is that the music of MSD has some concealed subtleties that cannot be heard tonight. Indeed, the parts that are sung , the whispered parts with a voice Phil Anselmo-like will be really difficult to hear. It’s frustrating, especially as the bands pull their guts out. We must add that the MSD has also raised the bar quite high: the death audience is one of the most challenging for the riffs, and perhaps thrash is not the taste of the evening … resulting in a new lull.

They had played this way at the Biker’s Road, and this hall has a name so that you can understand the feeling of the trio and the fact that they were more in tune with their audiences. Now, a band must satisfy again and again, and it’s a real challenge to capture an audience of non-regulars. Of course the more the music is consistent and square, the easier the charm will be operating … Well tonight MSD encounters some cohesiveness problems, perhaps the good old returns problem.

Nice show from MSD

Anyway, Steph is definitely in an ironclad good mood. Needless to say that it is nice to cross such a good nature … and then the band knows how to get you headbanging, but we really hope to see them with a much more loaded setlist …!

Kiss Laws
The Art Of Anger
Need Fuckin’ More
Biker’s Road

Tom from Fatal Agony

A few minutes after MSD, we can already see on the scene the now well known Fatal Agony. By dint of touring the area of Lyon, the band literally recreated the tip the radios had to sell an artist: the hype. « Genetic Testimony » and its catchy riff are for example already in our head when they get down to our hatches.

The set is decidedly more square than before, too bad that we no longer hear the subtleties in the drums play … why they don’t trigger the bass drum? This is the only sound problem that our young fans of Aborted, Benighted and Kronos will get… They are getting their pin out of the haystack and that’s a good thing.

Lyon’s Hall is both a great way for a young band to be know as … to be lynched. If the band’s sound is bad, underworked, you’ll feel it right away in this ruthless slum for metalheads.

The old songs are said to be mastered and thus they gain the approval of the audience who leave its nice and sweet lethargy.
Tom, the singer / bass player has definitely gained in confidence and no longer hesitates to engage the crowd by throwing a few « Hail » with the lovely aroma of small intestine. Therefore Fatal Agony wins over his audience in the first part of their set …

which means that there is a second part: the tracks are cooler and you can feel it. Indeed, what made the charm of the band, this brutal death with the cleaniest of sound, seems to be evaporating a bit somewhat. Not that the game is not square, but we are less able to distinguish between the riffs. The band wanted to change the speed and the brutality, all of that to his credit, but some parts are still left unfinished.

Pierre (Fatal Agony) in flames

And then we hear that Fatal Agony is more « core » because of their latest titles. Especially as the group calls one of their friends to scream with a shrill voice on « Intrusive Hatred ». But beware, if your servant says « piercing » it is far from being comparable to the unbearable Trevor from Black Dahlia Murder…

Indeed, these valets’gossips are simply explained by … the new guitarist with short hair. You know: short hair = hardcore / deathcore / shaved-cuntcore etc.. Well. Still, the arrival of Mike has been an opportunity for a real breath of fresh air for the young death players.

And I never tire to say that a guitar player who vibrates with his stick (ahem) is one of the most pleasurable things (ahem) around. Yes: better a guitar player having each and every evening a dozen satriani-like orgasms than a scarecrow dressed up with a scraper and long curls.

Mike is therefore a good novelty. There was another change, worse this time but that will probably be corrected … that is to say the famous guest. Once more, the concern is not on the voice, which is pretty good. It’s just that we feel that this collaboration was made at the last minute. Let’s argue for argument sake that it was for pleasure, and that a guest always feels good to the band, but here on this track … it was a bit of nothing and everything rolled all together, right?

Genetic Testimony
Human Agony
Failed Reflexion
Intrusive Hatred
Stained earth


The gods of death are in the house!

The Americans of Origin get settled nonchalantly on stage: doing the balance, taking all the time in the world and we especially take care of the whole setting.Indeed, we feel that our lads have lost the habit of playing in such conditions: tiny room, Lilliputian stage, sounds obviously fat, noisy and awkward… But they still go around with a huge smile.

However, our four dudes exchanged puzzled looks when they heard the sample setting off their set. They barely are just ready, and yet it’s been a good fifteen minutes that they work on their sound checks. Organizational problems, bad joke of their sound engineer?

Mike and Paul, respectively bass player and leader / guitar player of the band have not even had time to experiment with their mic (you would have understood that with Origin, everyone shouts). Nevertheless, they face it… it saves us from a bad memory of Marduk in Paris who launched three times their intro sample. And that’s where things get un-fucking-believable.

Honestly right from the first notes, the pit is in the mood for good and runs around. Everything is raw, but everything is fine. Let’s just face it and say it, from the start the level of the musicians is high, really high. Mike hammers his bass with such a velocity that we seem to see a perpetual solo, all slaped, of course. Eyes closed, as in full trance, our Puerto Rican bangs his five-string with a breathtaking precision.

Ryan : raw rage

Behind the drummer with a trucker face hides a terrific blast player, and he gets the martial rumbles on his snare to shower « Wrath Of Vishnu ». He will hold the rythm throughout the set, which let’s say was rather short (less than 50 minutes). As for the guitar player, what is it to say on this actor Paul Ryan?

We already had Trey Azaghtoth in the mad dude style, under his air of satanic Born Again, under this mop flirting in between firecracking funky hair and the wick and mad bang, we had the best guitar player in death music. With Paul Ryan, Trey can at least tremble a bit, and this, point by point.
Paul is indeed a smiling leprechaun with a triple row of teeth, wearing an idle floorcloth as a mane. But again, he not only masters his instrument, but Mr. screams his lungs.

As for James, he is probably the death singer who has the most self-mockery. Constantly we will be asked wether he has not a killing appeal, all the while stroking his gargantuan belly. Many would say that James has the shoulders of a mountain, it would be to ignore that his three stomachs have long served as a cold room for the Big Kahuna Burger of the State of Kansas.

However, this good friendliness should not obscure great musicians.
Thus, when a few members in their ethylic honeymoon are trying to get James off stage (this is not a fiction: we really tried to get James out of the stage) to make him crowd-diving, it was a real nice flip off that came out.

The very good John Longstreth

But the most amazing thing will be this magnificent hand slap (well, foot)from the bass player; to defend his singer, he sends a foot shot in the heap. One would have thought that at the end of the track, everything would stop and Origin would call it a night, arrivedercci the bulldozer. But no, there’s some explaination done, we get to talk and everyone goes back more peppy than before.

The group move on to their songs pieces by pieces with the already cult « Staring From The Abyss », and especially with a flood of titles from their latest album, Antithesis. This album can already register among the ten best albums of death of all time, we can thus understand all these kids watching them with a huge Critters’smile on their faces. In more detail, we will get, among other things, « Finite », « The Aftermath » and especially « Antithesis », the title track and the new manifesto of death.

James thanks us for finally having « come ». He will retell a tale from one of the pit member. Moreover, this member is none other than the Huge Puppet exhaling fox’ fumes who was trying to have our friend James crowd-swimming. And so our frontman will leave us on, in the language of Shakespeare: « thank you for coming … uh … yeah! Thank you for cumming! « 

Translation conducted by Sand’


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