It’s the week before Christmas, the weather can’t decide if it wants to snow or rain and the amalgamation of sleet and drizzle is coming down thick and fast.
Tonight, the warmth inside The Fire Station is comforting as bodies consume an array of beverages, waiting for the evening’s events to well and truly kick-off. All eyes are fixed to the stage as Hindsights finally begin their set, after a seemingly long stint of technical difficulties. Glazed is a song that is filled with sustained, lengthy chords that are timely slow and angry, as are the vocals.
The quartet from Slough certainly live up to their allusive melancholic punk reputation (as heard from the internet) with songs Sixteen and Bones being rocky and spunky at times as they thrash around onstage, only to dive deep into a dark, depressing rant. Considering this is their first gig, Hindsights are certainly a local band to watch out for.
Looming out of the shadows come Fearless Vampire Killers, a death-pop band from London. The band -who have recently switched drummers, released an E.P in the summer and been busy recording- are dramatic to say the least.
They are the latest stage in the now outdated emo phase, and the crowd definitely knows it, but the quintet carry on regardless.
Appearing onstage in gothic, turn of the century clothing, and clad to the nines in eyeliner, FVK launch themselves into their set without a moments hesitation. Concede, Repent, Destroy follows the theatrical, dark and brooding theme of the show, lyrically taking the audience on a supposed emotional journey, accompanied by frenzied vocals as the lead singer glares into the crowd. At times a harmony tries to rise to surface of the performance, whilst at the same time the bass takes switches to take on a much heavier demeanor.
Fetish for the Finite is a fast paced, dark melody with a slow, harmonious chorus, riddled with ‘oohs and ahhs’ that encourages the vocalist to coax the audience into joining in. They don’t.
The guitarist and lead singer switch roles. The new singer captures those who are listening -mainly due to the fact that he is clearly mimicking Gerard Way- thrashing in time to the beat, the whites of his eyes visible in the stage lights whilst he tries to create an all round melee of darkness and fantasy. Palace In Flames is a rather more accessible tune, with echoing, chaotic guitar riffs, and a repeated “Who is She?” pads it out, this time successfully in harmony.
It’s a good performance, but does this MCR fusion have a place in the industry? They certainly know how to pull off a theatrical performance, but only time will tell where they will be in 2012.