Because we’re bunch of miserable bastards who spend most of our time listening to Tokyo Doom Jazz and shouting at people, it’s pretty rare that a musical event causes any stirring in our jaded muso loins here at DT towers, but even we were heartened this morning as we learnt that our very favourite band ever to play in London’s tiny Crobar are set to get it on again. Here’s the press release that appeared on DFA’s site:

Jesse and I have decided that what we can do together should not be denied.
Together again, as was always the intention, as a collaboration.
The collision of two different worlds.
As this all takes shape, we will reveal it to you.
All of it happening, as it always has, in our own way.
Thank you all for sharing in our excitement!

Yes.
SEBASTIEN

they love each other really...

So, there you have it, theelephant-faced synth-shout duo are back, hopefully in an attempt to teach Hackney/Village hipsters that not all two piece bands have to sound like Gary Newman….

Here’s to sexy results.

Christmas is once more upon us and this year its evil tendencies are back. SNOW has once more gripped the nation and descended us down to the seventh layer of hell where all anybody can speak about is SNOW and the real point of this whole entry, Simon Cowell’s minions with microphones have bludgeoned their way to the top of the charts. This ladies and gents is Christmas 2010, just like every other Christmas, except newer.

This entire post is basically an excuse for Interceptor to post yet more pictures of Cliff...

Last year the world breathed a massive sigh of relief when the first proper ‘chart battle’ in what feels like forever came to a satisfactory end. I say the world, because people who disagree with Rage Against The Machine winning are wrong and don’t count as part of functioning society. Yes Christmas 2009 was an anomaly, being the first in years that one of Simon Cowell’s minions with microphones didn’t top the charts. It will probably be the only year in modern history that real musicians hold the position.

Facebook campaigns were started this year, but it just didn’t have the spirit behind it. With three different campaigns going it just wasn’t organised enough to stop the force of mainstream Saturday night T.V. and Matt Cardle bludgeoned his way to the coveted spot with ‘When We Collide’ originally ‘Many Of Horror’ by Biffy Clyro.

He has now apologised to fans of the band for ‘ruining’ the song, personally I think he should apologise 439,000 times, one for each copy sold. There isn’t even really much to be said about his cover of the song. He’s just sort of stripped away everything that was interesting, to make it boring successful pop. Good for him. Of course I say him, what I really mean is a team of professional writers hired for the occasion. ‘When We Collide’ does now have the biggest weekly sales for any single of the year, excluding those for charity, which x-factor also won, to my surprise and delight.

It’s no surprise to anyone that x-factor wins every year and god knows it shouldn’t be a surprise. Apart from the fact that we are a nation of idiots who are spoon fed drivel and lap it up like kittens do milk, this program has a prime time spot on a Saturday night for three months of the year, coincidentally the three months just before Christmas. People have heard these songs for weeks on end and voted for their favourite, now if everybody that voted for Matt Cardle to win bought his single then these sales figures would undoubtedly be much higher, so let’s just assume that somebody realised what they had done and banged their head against a wall for three minutes instead of buying his single shall we?

Fig 1: Who would you rather go to a party with...actually...wait...don't answer that...

On the plus side of all this winter chaos, Biffy Clyro have had a great year. The very fact that an X-Factor winner is singing their song says a lot about how far they have broke into popular culture. They appear to be becoming Radio favourites these days, they must be the new Muse or something. One of the numerous anti X-Factor campaigns was for fans to just buy the original and they managed to get Biffy to number eight in the singles chart, not too shabby. Mon the Biffy!

So goes another Christmas, with its terrible weather and terrible soundtrack. Last year may have offered some hope, but it was all a mirage to shelter from the cold.

Is anybody even sure why they care about Christmas number ones? Look at the past winners, barely any of them are actually relevant to the holiday period. Bob the Builder got it in 2000 BOB THE BUILDER. That’s not even real. If Matt Cardle has got any other number one single of the year, nobody would care, but it’s Christmas and for some reason it matter.

Remember when Mad World won? That was a good year.

A Daft Legacy

With the release of the highly anticipated Tron: Legacy on December 17th it’s only fair that its unique soundtrack by French DJ’s Daft Punk gets the same treatment.

It seems only right then that the DJ’s who made their name in the 90’s house scene started their careers with a meeting a Euro Disney. Their unique brand of future-house-techno, as I’m labelling it, took the world by storm with such singles as ‘Around the World’ and ‘Technologic’ and their even more unique ‘style’ on stage is a uniform of leather suits with helmets shielding them from the rave happy crowds. Helmets you say? That sounds familiar. Yes Daft Punk are those guys that look they should have been in Tron. How perfect then that they happen to create music that suits the tone of the film like Cinderella’s slipper fits her own foot.

Two disks and over an hour and a half worth of music that takes you from a sense of impending doom and dread to moments of triumph and even elation. Daft Punk have pushed themselves to the limit here expanding to what sounds like a full orchestra being held captive and forced to play while Daft Punk have a techno battle over the top, just for fun. This album is strange because it’s not quite a soundtrack and not quite an album in its own right. If you look at the Tron grid and then try to imagine the natural music that would emanate from that world you will start to get some idea of what it sounds like. Epic is the word that comes to mind and I don’t use that term, as most do, lightly.

The duo consisting of, Guy-Manuel de Homem-Christo and Thomas Bangalter, appear to have fully immersed themselves in the world. They had unlimited access to the set and director Joseph Kosinski and have formed a close relationship with original director Steven Lisberger, who is now contributing liner notes to the album. The pair even had their own Tron helmets purpose built, which I like to think turns their thoughts into music. All this attention to detail has paid off leaving the musicians with what could turn out to be the definite soundtrack of the year, even a generation. Now that seems like a rather large statement to make, but if you think about the last decade and ‘the rise of the machines’ then it doesn’t feel so odd. The internet has changed the way we all live and social networking is how we project our identities, much like the avatars and computer programme characters of Tron, this soundtrack takes you to that other world and forces you to face yourself. Epic, like I said.

Whether you like classical or modern music this album will work for you. It has pace and depth and substance and style, all things you want from music, it manages all of this without lyrics and only one introduction from Jeff Bridges or Kevin Flynn if you will. It’s reminiscent of a Clint Mansell score in the way the orchestra utilises the sharp edgy strings, but this is one soundtrack that truly deserves to be filed under the heading OST.

Knowing that Minus the Bear were supporting I had been excited about the gig for a long time and thus arrived early not wanting to miss anything. I don’t know if anyone has ever turned up to a gig at doors opening time, but I hadn’t before and it was a sight to behold. I was a bit shocked at the cleanliness and spaciousness of the Academy (which is much bigger than you think.) Luckily it paid off as drinks are half price till half 8 which worked out at treat, two cans of Red Stripe for £3.80 I think so my friend.

Arriving early is also an excellent idea for all us small people that populate the planet because it means you can see, which isn’t essential to the music, but you know, it’s a nice part of the gig-going experience since you paid 20 quid for a ticket. I still managed to miss what everyone chuckled about during the support set, but whatever it was probably shit anyway.

The apparently funny support band in question is Minus the Bear, Seattle’s very own math-rock band. Touring their new album “Omni” they played a set that suited the audience in question, with some older hits including ‘Knights’ and new single ‘My Time’. I always feel a bit strange watching support bands though and spend most of the time wondering what they are thinking about ‘us’ the crowd. Clearly some fans were present and I’m sure some of the nodding heads were converted by the bands massive sweeping soundscapes and lavish melodies.

As much as it appears the crowd may have enjoyed their set, nobody was really there to see them. No, the band the packed room was waiting for was Jimmy Eat World, A band who it feels like have been gone forever. With the stage blackened and the punters smacking their hands together the four innocent looking boys from Phoenix walked onto the stage and struck a chord straight into ‘Bleed American’.

With a band like Jimmy who have been going over ten years now it’s very easy to forget just how many hits they have and it takes a blistering set like this to remember. If you can name a song then they probably played it and then they played some that you can’t name too, just for a bit of fun. It’s amazing to see a band like them still having fun after all this time, it really does seem like they love what they do and who they do it with. If you don’t believe me then the fact that they threw in the full 16 minute version of ‘Goodbye Sky Harbour’ leaves nothing to be discussed. Hearing a song that big and pure live is nothing short of spectacular. There is literally nothing to not like about this band.

The only thing they lack is crowd-banter, but when the music is this good I don’t think anybody cares about hearing how good they are compared to last nights audience.

When you have a few hundred people singing along to every song it can start to sound a bit fuzzy and crap, I’m starting to find this is a venue issue more than an band one, and the Academy is great for not doing that. The band were never drowned out by the audience and the sound stayed clean and crisp throughout, which is perfect for a band like Jimmy who tend to be note perfect.

They pulled out all the stops playing everything from ‘Blister’, ‘For Me This Is Heaven’, ‘A Praise Chorus’ to newer classics like ‘Pain’ and ‘Futures’ to songs from their consistently good new album “Invented”. After an already epic set they come back on to chants of “Jimmy, Jimmy” and play a 4 song encore with their biggest hit to date ‘The Middle’ and my personal favourite, the vicious, ‘Get It Faster’.

Jimmy Eat World are one of those rare bands who only ever seem to get better with age and leave nothing to be desired. They are genuinely nice people and genuinely great musicians.

My Chemical Romance’s latest effort isn’t so much an album release as a well orchestrated apocalyptic art event. With the advent of listening parties the band last night offered fans worldwide an exclusive preview of the album as hosted by the elusive Dr. Death Defying.

Apparently this is the bands departure from concept albums, but you tell me, fans are ‘killjoys’, areas are ‘zones’, enemies are ‘draculoids.’ Now personally I don’t care about this, they are great at what they do and this whole new world is utterly engrossing, so why change? Though this is still a concept album, it’s a massive leap from their previous sound with everything bright, poppy, and dripping electro from its very core.

Within the first three songs two singles are showcased. The world has already heard ‘Na Na Na’ and is undoubtedly sick of having it infused in their brains, but ‘Sing’ is relatively new and I’m sure it will sneak its way into the charts. Structured like a 30 Seconds To Mars song it seems a bit too epic for such an early place on the album, but it does have some more traditional My Chem breakdowns thrown in.

As much as I hate to say the album is insidiously pop-based, it is. Don’t fear yet though ‘Planetary (Go)’ will have everyone dancing to what is basically a rock song and the lyrical prowess that always made them great is still present “truth is not acceptable, fame is now injectable, process the progress.”

What made My Chem unique were the classic rock riffs from Ray Toro and the chugging punk sound that Frank Iero brought. It’s still very much audible on certain songs but otherwise it all seems to have been run through a synthesizer.

This album will gather the band a brand new assortment of young rock fans and the older ‘killjoys’ will stick with them out of loyalty and no doubt carry with them a sense of ‘I heard them first’ superiority (I know I will) and there is no reason why this shouldn’t bring them new fans, it’s a good album. In terms of their back catalogue it’s a great follow-up to ‘The Black Parade’ and if that was their first album I would be applauding them on creating a genre defining album, or something to that affect, but when you compare this with ‘Bullets’ or ‘Three Cheers’ it seems like their aggression just sort of wilted and died and then the bleakness of ‘The Black Parade’ made sure it had a proper send off. Having said all that ‘Party Poison’ is more along the lines of what I was expecting, being a fast paced, punky, guitar number and this is where the album gets good with ‘Save Yourself I’ll Hold Them Back’ bringing back the misfits-esque normality of the group. Gerard gets his wail back, the very camp My Chem swear of ‘motherfucker’ hits our ears, and we can all revel in some classic 80’s rock riffs. The band hasn’t gone anywhere it’s just a struggle to find them.

The whole concept of the album was originally Gerard’s next comic idea and it would have been a fantastic read there’s no doubt about it, but I’m fucking glad he sacrificed it for the band. Having scrapped an entire albums worth of songs, which I think we all desperately want to hear, the band were clearly in need of some new energy and one thing this album has in spades is energy. Our host for this evening Dr. Death Defying makes this whole thing exactly what it is, an experience. He acts as radio DJ for WKIL a fake radio station operating out of Battery City. He is so convincing me and probably everyone else listening wishes he was a real person and not a creation. Hearing his classic radio voice brings a smile to my face and his lair is pretty damn cool too. More bands need to embrace the concept album and the listening party. It truly is a phenomenon and My Chem is ahead of the curve on this one.

Getting back to the music after some reports from the zones ‘DESTROYA’ hits you in the face and is reminiscent of the experimental sound of early Lostprophets songs like ‘Shinobi Vs Dragon Ninja.’ It wouldn’t sound out of place on the soundtrack for a game like Tekken. As a fan more used to this aggressive sound it’s good to see they still have it on an album that has a lot of ballads. The ballads aren’t bad by any means they are just in too large a quantity. Album closer ‘Vampire Money’ is fucking spot-on and may be the best song on the album, it makes you forget about ‘Na Na Na’ and remember the good old days. It’s fast and vicious with a ‘Wipe Out’ style surf-pop beat throughout. The album isn’t their best and starts off slow, but by the end it will leave you fist pumping and after a few listens you will realise it’s actually not that bad.

Thanks to the lovely chaps at Eurostar, DT were able to check out Carl Barat’s debut gig down in King’s cross on the 27th, and it has to be said that the Chavvily-Chic former Libertines man is just as at home at the front of the stage as his old boss Pete Doherty – if somewhat less generally shambolic. Carl’s hitting the road to promote tracks from his new, eponymous album and you and a friend could be lucky enough to catch him playing in glamorous Paris on November 5th, with free luxury Eurostar travel and a signed album thrown in for good luck.

If you want to be in with a chance of winning this great prize then head over to Eurostar’s site right now and get your name in the pork-pie hat.

Hit the jump for the full review

Stepping on stage after a variety of interchangeable support bands with post ironic names, Carl comes across as a refreshing, polished change to the often falling-apart-at-the-seams theme that typified later Libertines gigs, backed up ably by a profusely sweating band, he throws out tracks from his new debut album while stripping down to a wife-beater and gold chain look that prompts some very exacting comments from the blonde lady next to me.

Bashing out new single Run with the boys and interspersing the more rocking moments with a fantastic rendidtion of So long my lover, Barat moves the mood of the night expertly, but never allows the momentum to cease.

Of course, Mr Barat is no fool, and knows that however catchy his own tunes are (answer: Very, in a post indie-lad-rock way, all jangling, popping guitars and thundering, rolling basslines), a large portion of the crowd is here to listen to him rolling out tunes from his former group’s back catalogue, and we’re duly obliged. A jumpy, fun set rounded off with a surprisingly thunderous rendition of ‘Can’t stand me now’ that even sees the hipster types at the front attempt a little bit of moshing (bless ‘em).

Overall, a solid, fun night out with a professional, hard working band.

Everything Everything Get Dancey With Us….

Everything Everything are the best British band you haven’t heard of, until now. With the release of debut album Man Alive here is a band everyone can be proud of and they don’t sound anything like Oasis.

Foals and the recent onslaught of bands that lure us in with their charming indie awkwardness and pop hooks is exactly where Everything Everything should sit on your shelf. Yet just as Foals swallowed themselves up in a pseudo-intellectual nightmare along came Everything Everything to make you dance.

The boys were sad to find that their vanishing cream was a little too effective...

Not to tarnish them with cool art-rock expectations too soon, but quirky is a word that comes to mind. ‘Photoshop Handsome’ starts off with 8-bit Nintendo sounds and morphs into all four band members melodically singing about being airbrushed in schoolboy style rounds.

The album opener and re-released single ‘My Kz Ur BF’ is a sure-fire club hit demonstrating the bands penchant for dark lyrics “and I haven’t seen the body-count lately but looking at your faces it must have been bad” and sing along choruses.

Everything Everything’s sound is at odds with itself, they are a definite product of the digital age and yet somehow it all manages to sound very natural. Any song would sound at home on Radio One and ‘Come Alive Diana’ could be an Interpol song if half way through it didn’t have a laptop induced breakdown. The production brings a clean, layered, almost angular sound to the album which is reminiscent of Minus The Bear’s icy math-rock.

Just as your giddiness has peaked out come the ballads ‘Nasa is On Your Side’ and ‘Tin (The Manhole).’ While the sentiment is a good addition to a great album, at four minutes plus the return to sharp electro for finale ‘Weights’ is welcoming.

Everything Everything and Man Alive are insatiable. If you don’t tap your feet or attempt to sing to nearly every song on this album then you’re probably dead.

It’s friday, and what better way to finish the week off than a visit from paul McCartney and his ‘Female-Loathing-Car”?

This is a music blog. So reviewing comedy is a bit weird. We wouldn’t usually do this, but both Brian and Andrew’s comedy is very much based in the world of music, specifically metal, so we’ll make an exception.

But just this once.

Andrew O’Neil is a heavy metal fan and cross dresser. He is quick to point out that he is not a goth, but I do not believe him, as his cross dressing involves a pair of those black and white stripy tights that can only be worn by goths. I hear you need a special license issued by Robert Smith to even buy them. He’s a goth. But we won’t hold that against him.

His comedy seems to draw on alt type culture observations, bizzare flights of fancy and puns so bad/good the front page of the Sun would be embarrassed. He may be a little too clever for his own good, a few jokes despite their merits fly rirectly overe the heads of many of the audience. His delivery is also a little unsure, he doesn’t seem to have the confidence to back up his humor. But hey, this is a guy I’ve only just heard of, so I’m fairly sure he’s finding his own way of doing things. He certainly has the material, and a nicely targeted audience, so he’s pretty much on his way – just needs a bit more oomph.

Brian on the other hand is a man made of good natured oomph. It’s hand not look at him without smiling, he looks like a muppet – albiet one that smokes a shitload of pot and listens to Entombed. And he knows this. He’s wonderfully self depricating – describing himself as ‘farts wearing a man costume’

His comedy fuses really, REALLY low brow humour (”Fart and Dick Jokes” is his new CD after all) with wordplay and observations. He may be telling a story about wanking, actually most of his stories are about wanking, but it never feels like gross-out humour or shock for the sake of it.

He really nails a sort of slacker mindset. People who are clever, but lazy and they know it. (Clearly he’s not lazy, but hey, y’know what I mean.)  Finding the humour in the ridiculousness that is modern life for a functioning nerd.

Plus the man is so damn likeable that even when you’ve heard the joke before, or it doesn’t quite work, hey, we’ll let it slide, because goddamn, you’re just so nice!

Cider usually means festivals in the Westcountry, teenagers on park benches and tramps on street corners. Not the best in new music. New music usually means self consciously cheap and crappy beers.

Not so any more. Kopparberg, purveys of a whole variety of tasty ciders, have got in on the game . Kopparberg Klash is the latest hunt for the nation’s best new band (among other creative type things). usually these involve a bunch of watered down pub rock bands and cookie cutter versions of whatever is currently in the top ten.

Lucky for us that Vice magazine is involved to make sure a well needed injection of skinny jeans, asymmetrical haircuts and keyboards that sound like NES  games.

The final (because who really wants to sit through the local also rans) is THIS WEDNESDAY, so if you’re about the Shoreditch area (where else?) get on down to The Old Blue Last to check out Plus Ultra, Dead Wolf Club and Filthy Boy along with MC Charlie Partridge of the East End comedy duo Robin & Partridge, DJs and a whole load of cider.

Head on down. We’ll be there if that helps.

We know it won’t.

Here I am in the sun, doing my best to look like a communist. One that's into Trans-Ams.

You know, there was a time when I considered myself ahead of the musical curve.
I got into metal when I was at school, and my collection got pretty big over the next decade. My tastes got more eclectic and (I like to think) more sophisticated. I spent time feeding my passion for obscure doom, hunting out limited edition vinyl singles, writing to bands and zines (There was no ‘interwebz’ in those days), and even tape trading.

By doing this I uncovered a lot of great music that most people will never get to hear. If you can be bothered then I thoroughly recommend you check out Pale Divine and Sir Hedgehog. I’m not going to add MySpace links because..well, because they don’t exist, but do some hunting for Black Tears distro or something and they’ll point you in the right direction.

Anyway, after school I took about ten years out from education. For some reason I thought I could be a musician, so I spent my time working McJobs and spending the cash on guitars and amps, fuel to get to gigs, and me and some friends wrote some great (and some not so great) songs. It was a lot of fun.

Wavves. Bought to you by the letter V.

So, eventually I returned to university at the ripe old age of 26, and had a lot of fun making out with teenagers and drinking. While I was there I met this chick. She was hot and fun and we really clicked. We had different tastes in music but we also had that same openess to new sounds and experiences. We took pleasure in discovering new things and I fell pretty hard for her, and she eventually broke my heart.

Afterwards,as part of the healing process I cut off all my hair and developed a pathological hatred for anything kooky, ooky, or altogether electro-ey. I thought it was because it stirred up too many bad memories, but actually it’s because I started seeing through all that posing, affected, skinny jeans and blue hair teenage shit.

You don’t like music hipsters, you just like name dropping bands you hope your moustachioed, vintage-clad friends won’t have heard of.

Now, don’t get me wrong, I caught a couple of bands at this thing. The Vivian Girls were on, and even though most of their songs seem to be about Mopeds (being ‘British’ is cool you see?) they’d have been alright, except that every festival sound engineer in the world now watches Glastonbury on TV and actually thinks that’s a decent mix.

Wise up knob twiddlers. If you want a decent festival sound watch some footage of Donnington in the mid 80s, when you could hear the band properly. To be fair, you also need a 400,000 Watt P.A System. And maybe the band just sound like they’re playing in a wind tunnel on purpose. Ever been in a wind tunnel? I once dropped a loud guff in bed but that’s about it.

The Vivian girls. Possibly pictured in a wind tunnel.

Anyway, there were also two types of booze on sale (San Miguel and fucking pear cider), and about a hundred nondescipt experimental art bands. There was also a pretty heavy socialist presence, because hey, Che’ was hip too you know? I once met a guy who’d met him. Apparently he looked like a chimp. On that basis I wrote a sitcom script about ex-revolutionaries living in an old people’s home together. It’s just as well I didn’t bring it along, because there’s no recycling bins. Conspicuous waste is cool.

I always saw myself as an artist I guess. I took pleasure in the things I created, and always spent time on the details, the little things that make something stand out. Now I spend my weekends in sub-Mad Max landscapes, surrounded by people who think it’s ok to go out wearing a cloak made from knotted doilies.

Old women are cool.

Doilycraft is cool.

That guy who used to be in Joy Division threatening to play his hit.

He’s cool too.

I’m really not that cool.

This is what being metal as fuck is all about. You may have a terrible job holding a sign for a pizza place. But that does not stop you from ROCKING THE FUCK OUT.

When life give you lemons CRUSH THE LEMONS IN A FIST OF METAL AND BANG FOR SATAN! FUCK LEMONADE! ROOOAAGGGHHH!

Watch the above video for as long as you can. I lasted for around three minutes.

If you’ve made it through the entire thing without vomiting on yourself, congratulations! You are now fully aware that there is an entire festival based around the rappers dressed as clowns sub genre invented by the ICP, famous as late for not knowing how magnets work.

I have never seen so many ugly people in one video.

With the return of Crystal Castles and their second self-titled album Ethan Kath and Alice Glass are heralding the dawn of a new type of musician by a return to the arrogance of the classic rock-stars.

Now I know by labelling them rock-stars people will probably want to throw bricks or synthesisers at me, but really what else are they? They play electro, oh right sorry. Wait, but doesn’t Glass scream a lot? So screamo it is then. Actually aren’t some of the songs fairly poppy in temperament? You see now we’re stuck. Call them noise, call them pop, call them what you like – Kath will have your head for it.

Both Ethan Kath and Alice Glass look like unsuspecting rock-stars with angular self-cut black hair and leather jackets. They look a little like the scene kids everyone tries to avoid to be honest. Just from a photo you can tell they are the awkward type and this has been confirmed by practically every interview they have ever given. Clearly they are going down the “we don’t give a shit about the fame and money” route. Classic. Apparently Ethan is lovely when discussing anything but his music. They are rock-stars and you know it.

Two albums in two years isn’t bad by any means either. They can be as tragic as they like if they have the music to back it up and here are two individuals who truly are masters at what they do. Kath programmes all his own equipment, from keyboards to phones and probably some old Nintendo’s too. Glass on the other hand is the mad front-woman who is more than likely on drugs while throwing her self around the stage. Never before have game noises made you want to dance like an epileptic on pills.

It is this pixelated noise quality that polarises people between love and hate for Crystal Castles. I can understand how and why people would dislike them; in-fact it seems like the easier option, but nobody else has or is currently doing anything similar to them, and that in itself is an achievement. They are the 21^st centuries answer to rock-stars. They are awkward, angry, different, and excessive. No longer are the cocaine addled sex lives of Motley Crue interesting to us, but the pill fuelled nightmares of hooded creeps.

These two excruciating individuals have the mentality of a gang and when you hear the music you do imagine them exactly as they are. If others jump on the electric bandwagon I fear the music will be passionless. Crystal Castles are the only viable future for this scene and they will probably relish that.

One day, long after man has departed for the stars, we’ll gert tired of posting up stupid Slayer cut n’ pastes…but not today I’m afraid.

Castles.

As buildings go, they’re already pretty metal aren’t they? Can you think of any other buildings incorporating a murder hole?

This legacy of carnage obviously wasn’t enough for Rochester Castle however, which recently upped the ante by displaying a massive AC/DC gig (with a little help from Seeper). According to company founder Evan Grant:

“This onslaught of the senses saw the castle confront its ultimate challenge. Warping, morphing, spewing and collapsing before the audience’s eyes. Let there be rock!”

And who are we to argue with that?