Review by Gary Spiller for MPM
The tour that shouldn’t have been rolls into Swansea for a glorious homecoming embrace. Quite literally on the eve of a UK tour supporting South African gothic rockers The Awakening the rug was pulled right from underneath the feet of Welsh metallers Black Lake. With a short two paragraph-long statement the headliners announced a complete cancellation to the tour citing a back injury to founding member Ashton Nyte.
Some might have, quite understandably, thrown the metaphorical towel in and conceded defeat, but Black Lakes and their manager Gina Hurley are constructed of far, far sterner stuff. Within 48 hours, with phone and internet going into meltdown, four of the eight dates had been ‘rescued’ along with an additional gig in Bournemouth. Game on and with the support of many, including venues and support bands, the pressure was on to translate these efforts into ticket sales.
Forward wind to a grey Friday evening in the centre of ‘Copperopolis’ there’s well over a hundred fans packed into the well-appointed interior of Hangar 18 to lap up every moment of what turned out to be a veritable night to remember. Looking about the venue everywhere I see familiar faces, it’s a very heartening coming together – an upswelling of grassroots support – very much like the early days of the NWOCR.
Opening up this evening’s four band, completely Welsh, bill is one-time Dead Noize bassist Ellis Mason. Bursting on to stage, just a quarter of an hour after doors opening, in a fashionable ensemble that Captain Sensible would be proud of Mason captures the attention of an already sizeable crowd. “I make really weird goth music in my bedroom” he states before adding “And then I cry!”
For those who the fecund Welsh rock scene Mason is a cross between Shane Grist (The 501’s) and Christian Sayer formerly of Yaki-Dah and in an eclectic 25 minutes this Port Talbot dynamo pogoes through an explosive output. If OMD had collided with Sisters of Mercy and somehow sandwiched Kraftwerk in between you’d get the wavelength this gent is upon.
There’s an echoing beauty afoot in the intro before the jauntier 80’s infusion of ‘The Lights’ sees the gears shifting. With some devishly good footwork, the hooky ‘I Hate You’ follows oozing in 80’s New Wave atmospherics. In the goth-laden environs of ‘Dominoes’ Mason declares “It ain’t what it used to be”; that’s an undeniable fact for sure.
The punk-fringed ‘Mr Inbetween’ enwraps urban angst in an avant-garde whilst ‘Death Waltz’ ensure what’s on the tin’s outer is complied with. Mason appears made for the stage and clearly isn’t phase in the slightest opening up what is, in the main, a most metalliferous of nights. Closing out with ‘Undertale’ and nod back to those days of Dead Noize with the outpouring of anger that is the energised ‘Bojack Horseman’ Mason has left a positive indelible impression upon the Hangar 18 crowd.
A resonant calling of the clans heralds the arrival of melodic metalcore five-piece Struggler. The helms of weight blades clatter upon the shield-fronts as warriors declare their intent. The haunting vibrancy of set-opener ‘Still Dream Your Name’ – a single from the end of last year – lays down the gauntlet. A chilling hair-raising spectacle I’m immediately ‘in’.
Formed in the summer of 2023 this quintet has been gathering momentum across the breadth of South Wales with an opening slot for Kill The Lights the following night along the M4 in Newport giving hint as to the direction currently engaged. ‘Do You Walk With Me’ slaps with the fury of an Alpine avalanche; however, amidst the fury are distinct melodic daubs akin to the likes of Opeth and Dimmu Borgir.
The hammer-blow of ‘The Hidden Storm’ pulls the crowd forwards. Always a good sign in my book, the claws are well and truly sunken in. ‘Heretic’ drills ultra-rapid percussive forces with screaming banshee riffages that slam forcibly combined with the melodious breakdowns. Tremors quake from the abyss in ‘Mirror Mirror’ afore the tight as you like ‘Puppeteers’ ups the ante further.
With its beautifully toned twin guitar intro the masterly crafted ‘Crestfallen’ takes the classic Metallica into darker realms with a subtle yet destructive detonation. It’s the first time seeing this force de majeure and they’re being firmly planted, alongside Ofnus, Famyne and Heriot as “Ones to watch”. The meteoric ‘Invisible String Theory’ wraps up a swift half hour set in fine style. If this outfit doesn’t play Bloodstock sometime soon then there is no justice in this world of ours.
The flaming torch is passed over to Cardiff six-piece Sydney Fate as Hangar 18 regroups itself in readiness for further onslaught. Formed nearly a decade ago this six-piece, following a number of lineup changes and a four-year gap following the release of their 2020 debut lp ‘Silicon Nitride’, unleashed a handful of singles.
Strangely however, none of those tracks feature tonight as the band concentrate upon six tracks from the aforementioned debut. Welcoming back former bassist Sam Butterworth, for the evening, and being minus backing tracks might well have played a part in this choice but whatever the reasoning behind the setlist it doesn’t detract from a fine personal introduction to yet another Welsh band who are growing in stature of late.
Set opener ‘Tacenda’, coincidentally the first track off ‘Silicon Nitride’, possesses a delicious melodic undercurrent with tumbling drums courtesy of Terry Collins and raging twin torrent of guitaring from Dom Evans and Ellis Jarvis. It’s a meteoric entry that burns up the planet’s outer atmosphere somewhat reminiscent of a powered-up Linkin Park.
The clean vocals of Bailey Edwards work well with the harsher output of Ryan Manley, a combination that prevents any potential of ploughing a singular furrow. ‘Falling Forward’ is an absolute screamager that treads into the territory of Trivium and Architects, modern metal for a modern ear. The spine-tingling ‘Oceans’ is next up with slamming breakdowns that veer towards a tempestuous brutality that Hangar 18 laps right up. The emotional strains of ‘Chelsey Grin’ slow proceedings down somewhat slewing off into prog-metal realms.
There’s little doubt in my mind that these guys can mix it up and the emo-tinged ‘Sound Alive’ is a stunning kick-out. The behemothic seismic qualities of ‘Sweet Anticipation’ stomp right across Swansea and create waves over the bay to close out a terrific 30 minutes.
Upon my first viewing and then a bit of digging through the archives I get the sense that with a bit more consistency and continuity that this is an outfit that could’ve been further along in terms of progress. However, life is what it is, and I hope that Sydney Fate’s rebuild is now bedded in for the foreseeable future. Another outfit to keep a firm eye upon for sure.
With a couple of superb albums – debut ‘For All We’ve Left Behind’ and follow-up ‘Dead Gods’ – firmly in the arsenal and a raft of festival appearances across the country it’s safe to say tonight’s headliners have well and truly ‘broken out’ of their Welsh homelands.
Having opened up the Sophie Lancaster stage on the final day of 2024’s Bloodstock Festival Black Lakes are no longer that ‘best kept secret’ and as a consequence find themselves climbing up the billing at such festivals as Love Rocks and Call of the Wild. This summer sees the quintet bagging a prestigious slot at Steelhouse.
There is much to be confident about with a third album in the offing along with the tsunamic waves of positivity that surround this ‘From The Ashes’ tour. To turn around matters so quickly and with much success demonstrates that this band are much further up the rock n’ roll ladder than perhaps they perceived. If these levels of support can be achieved in less than a fortnight then possibility of a future headline tour – maybe for the incoming long-player? – with several months to plan surely has the head buzzing.
The atmosphere simmers neatly as the intro strikes, distant drums begin to thunder as the band – caped and cowled – gather under a mysterious air. Lantern-bearing vocalist Will Preston skitters on last, an entrance time to perfection as the band about him detonate as the fusewire burns out. Hangar 18 broils and seethes as the opening gambit of ‘Burn’ sears brightly and Swansea emits one almighty appreciative roar.
Slamming headlong into the thought-provoking ‘White Cliffs’ Black Lakes bring the storm to match the thunder. A memorable homecoming is already assured with this hefty one-two from sophomore album ‘Dead Gods’. Reports coming out of Edinburgh, Bradford, Bristol, and Bournemouth all suggested that tonight would be special; they were bang on the money!
Switching focus to their 2022 debut Black Lakes strike us with a triple from that offering. The twinned quaking six-strings of James Rowland and Scott Bradshaw induce Richter registering tremors in coruscant haunting of ‘Avarice’. Preston jumps upon one of the raised platforms to savour the scene before launching into the storm breaching of ‘Fragments’. Blackened hearts unified beat as one ahead of the howlings of ‘The Divide’.
The cathartic emanations of ‘Dark Glass’ rumble with high energies as the surging kinetics continue apace. This is a night that will be remembered, for all the right reasons, for a long, long time. Drummer Dafydd Fuller gets in on the vocal act in thrust of ‘Rapture’ ahead of Preston and Bradshaw leading the H18 ensemble in chorus during the inferno of ‘Vapour’.
Whilst the support from NWOCR has been generous to the extreme for Black Lakes this I feel is a moment in time where they gain their wings and soar upon high. They’re too modern sounding to be deemed pure classic rock; more 21st century than 20th is a selling point that will see them progress beyond the boundaries of one genre however supportive that has been.
Brand new track ‘Dead Inside’ blows the fuses across huge swathes of the city as the band, collectively, exude a new-found confidence that translates into the broadest of smiling expressions. Quite possibly the happiest bunch of goths in a large radius. Bombproof bassist Lee Harris has even emerged from under his hood whilst continuing to anchor everything in his usual dependable manner.
Deeper cut ‘Landslide’ is given a memorable outing as lightning courses across the vista. Rammed to the gills with Celtic resonance ‘Deathrone’ pulsates kinetically as someone in the crowd pleads for “20 more songs!” Preston, smiling, quickly retorts “Maybe not 20 but we’ll [happily] gives yas some more!”
‘Dark Before The Dawn’ the closing track of ‘Dead Gods’ was never meant to be a single but is shows what we know according to Preston. The track exudes metallic class as it sweeps away tortured souls with its shimmering quality. ‘Wildfire’, another tantalising glimpse into the forthcoming third release, fans its coruscant finery preceding the anthemic signature track ‘Verity In Flames’ as Hangar 18 is set afire.
Band and venue alike jump for ‘Hurricane’ as the night is wound up even tighter for the climatic conclusion comprising of the spectral energies of ‘Dissident’ and the titular triumph of ‘Dead Gods’. It’s been a triumphant response to an adverse situation, and bands, management and venue can be rightfully proud. The final words belong to Black Lakes’ manager Gina Hurley “Wow! That show will stick in the memory bank forever. What was achieved was quite incredible and what a performance. May just be the favourite of the tour. Absolutely superb way to end the actual tour.”
Photography by Kelly Spiller for MPM
