DIABLO SWING ORCHESTRA

TRIAXIS

After hearing many good reports about Triaxis' music and live performances, I was curious to witness the Welsh quintet first-hand. Welcomed by a cheering crowd as they appear on stage, the five musicians waste no time in commencing their thrash-edged trad-metal assault. An incredibly tight and solid performance ensues, although I find their music all so clichéd. Sure, they have an arsenal of well composed, catchy tunes but times have moved on and retro-mimickery just doesn't really do it for me anymore. Further, they seem to interact more with each other than the audience, as they exchange smiles between some self-indulgent musicianship. Guitarist Gio is a technically proficient player in every respect, but a plethora of sweep-picking and general fretboard wanking has an air of "for the sake of it" rather than adding to the overall composition of each song, and becomes rather tiresome after a while. A great guitarist in one sense, but he has limited expression through his soloing and a discernible lack of finesse. Krissie's vocals are powerful enough to rise above the bombastic metal backing, although Triaxis ultimately bore me senseless. On the plus side, they seem to garner a good response from a small number of audience members so must have a handful of fans in attendance. I do like that band name though, albeit presumably lifted from a Mesa/Boogie pre-amp.

DATE:

VENUE:

Friday 2nd October 2009

The Purple Turtle in London, UK

DIABLO SWING ORCHESTRA

With the self-indulgent retro-boredom of Triaxis out of the way, it's finally time for tonight's main attraction in what is now an incredibly hot and sweaty venue. Signs on the door announce the gig has sold out, so it's evident many have been eagerly anticipating the debut UK performance of Diablo Swing Orchestra (which, effectively, should have occurred last year had ProgPower UK not been cancelled due to poor ticket sales). In fact, beyond the UK, some dedicated fans have travelled from as far away as northern Sweden to witness DSO in action at what has been billed as an album release show. Also, as a side note, I discovered earlier in the evening that the man responsible for tonight, one Lee Barrett, capped ticket sales at thirty short of the venue's capacity to prevent the Purple Turtle from becoming overly crowded. A most considerate man! And it does take the edge off what would have otherwise been a more uncomfortable experience as when members of DSO wander out onto the small stage, the temperature in the Turtle is somewhat on the hot side. Playing to an impressively colourful backdrop of the artwork from newly released sophomore album 'Sing Along Songs for the Damned & Delirious', it is a track from this demented work of musical heterogeneity that commences the Swedes set tonight, 'Lucy Fears the Morning Star'. Also from 'Sing Along Songs...', 'A Tapdancer's Dilemma' follows which, without a cello part, sees Johannes Bergion abandon his instrument to participate in some fine swing moves with frontwoman Annlouice Wolgers, and it is Bergion who, for me, brings DSO's performance to life, at least visually. To be honest, I had expected more of a vivacious spectacle from what I'd heard of their live shows but I guess with six musicians crammed onto a small stage, it leaves little room for movement, and it's Bergion who provides the visual entertainment with sporadic dancing and an array of delirious facial expressions as he attacks his cello like no-one else I've seen before (even Apocalyptica). With the first part of the set largely drawn from the new album (with the exception of 'Heroines'), the second half is comprised solely of songs from debut release 'The Butcher's Ballroom', although every piece of music played is greeted with the same energetic crowd reaction as the mixed-age audience members reciprocate with dancing, polite moshing, and general random enthusiasm. Never have I seen the carnivalesque captured in a band's music and performance so well since Sleepytime Gorilla Museum at the Dutch Headway festival in 2007. DSO's polyvocal approach also works a treat in a live setting as there is no single focal point with a conventional frontperson, rather it encourages you to watch all the musicians perform. And it's not just the act of different band members singing, but the range of vocal styles of which they're capable - particularly impressive being Daniel Håkansson's Matt Bellamy-esque delivery and, of course, Annlouice's phenomenal operatic talent. Full credit to the sound guy too as with so many disparate elements, DSO's sonic craziness receives a perfect mix through the PA and is refreshingly not too loud, so retains perfect clarity during every bar of music. The introduction of a brass section (one trombone; one trumpet) during the occasional song ('A Tapdancer's Dilemma'; 'Poetic Pitbull Revolutions'; 'Balrog Boogie') increases the number of musicians performing to eight and makes the Turtle's small stage look even smaller, although it's good to see these instruments incorporated as a live element in DSO's show rather than on backing tracks. The stage does actually become so crowded at one point that Annlouice opts to sing on the stairs at the side! In short, DSO deliver one of the greatest live performances I've ever witnessed...and I really do mean ever. A second airing of 'Vodka Inferno' as a final encore wraps matters up in an appositely eccentric fashion, and I'm left with the overwhelming impression that DSO are destined to become huge. Their music has potentially wide-ranging appeal beyond just the metal scene and, based on the awesomeness of tonight's performance, it is success that would be well deserved. Fucking incredible!

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TRIAXIS

Reviews & Photography by Mark Holmes

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