May 07, 2007
The Biffy experience....
It was actually my 2nd time seeing the mighty Biffs, but my first time in Vienna. So it was absolutely mental seeing them live again, and then afterwards meeting them even if it was just for a short time. All of team Biffy are a really nice and friendly folk, they listen patiently to what you're saying and Si even remember the Berlin gig at the Mudd Club two years ago.
So if you're interesting read my detailed review of that night, and be sure to keep checking back for fotos of that night! (still waiting for my friend to get them of her camera!)
You don't believe it, until you saw it! :)
“mon the biffy”……that was actually me shouting when I saw Ben, Neil and Gordon coming out of a shopping mall which was at the back of the venue. Let’s say I was pretty surprised and rather speechless seeing them there as I was waiting for a friend to catch up with me for some pre-show pints…
I think they were rather surprised to see me, or ANYONE who’d recognize them in this city, 4-5 hours before the doors opened. Half an hour later (due to some misunderstanding) my friend eventually turned up. I told her how I met the guys and she was like “Oh come on, let’s stalk them right away….”. Some persuasion was needed, but I finally agreed - we quickly found their green/turquoise tour bus, being surrounded by lots of securities and people who consider themselves to be “important” were witnessing how we stalked the mighty biff.
Eventually James came probably from soundchecking heading towards the bus. We just stood there saying nothing…Then the bus door opened and Si came out of the bus heading towards the venue, again we just stood there saying nothing. Si looked rather tired, with his thoughts somewhere else - so we, well I decided not to approach them which made our wee stalking action rather useless..
We decided to head back to the shopping mall for some drinking action, unfortunately it turned out there were only cafes and no bars (!!!!), so we decided to have coffee there, which meant i had to stay sober til the gig (which was probably the right decision). However shops in austria close on saturday at 5pm, we totally forgot to buy booze there but it didn’t matter anyway because we couldn’t take it into the venue.
Now I’ll fast forward til about 7pm…..which was when the doors opened, we met some rather nice gentlemen from Serbia who mostly came all the way up to Austria to see the mighty biff which really surprised me! Guys, if you read this please get in touch with me, you really ROCKED! :D
We (except for the Serbia folk) managed to stand in the 1st/2nd row (I couldn’t really tell) right in front of Ben’s drumkit (a huge stage and a barrier separated me from my great heroes). Si, Ben and James hit the stage on time at 8pm and kicked off with the legendary 57.
The setlist was (I think I remembered them all, but the order might have been a bit different)
57
Who’s Got A Match?
Saturday Superhouse
Love Has A Diameter
Get Fucked Stud
Living Is A Problem Because Everything Dies
Liberate The Illiterate/A Mong Among Mingers
Now I’m Everyone
Glitter & Trauma
I was surprised that they dropped Justboy and mostly played Puzzle songs, probably just to promote the new album and because they just love to play the new songs as they’re sooooo fucking good!
The set was very well played, no major interruptions except for the beginning when some twats decided to throw stuff at Simon. But Si was WAY too cool to let them interrupt him, he was like “Bring it on, yeah bring it on you filthy cunts” (to his defense he DIDN’T actually say that, he didn’t say anything at all but I could tell by his gesture and the look in his face that he was thinking something very similar).
People seemed to go mental during Get Fucked Stud and Living Is A Problem….they were really up for it and cheered afterwards. Now I’m Everyone seemed to go down well as well, especially when James started the clapping bit and everyone in the venue (even the hardest hardcore Bloc Party Fans joined in…) that was the moment when I was gobsmacked how good the biffs were. Really fuckin good!
I was singing along to all songs (except for Love Has A Diameter because they slightly changed the lyrics) and annoyed the fuck out of all surrounding Bloc Party fans haha :D
I left the main room after Biffy finished their absolutely mindblowing set to buy some beer, buy two shirts and then get changed as I’ve sweat like I’ve never sweat before. But anyway, my friends decided to stay for Bloc Party as they were major bloc party fans, which meant for me 1 1/2 hours on my own. I sneaked around the venue and finally found some like-minded people who (if they didn’t wear a biffy tee I probably would have never approached them) asked me where to get autographs of our heroes. I said the only way to really get in touch with them was to catch them in front of their tour bus.
No sooner said than done. albeit it was pouring cats and dogs. The tour bus was dark which meant they were still inside the venue “backstagging”. However beer and fags kept us warm, in the meantime we were like a group of 10-15 people. Again 90% were Bloc Party fans, only the three of us (the dudes with the biffy tee and moi) representing the biffy camp. After an hour standing in the rain some bloc party folk came out - I don’t know their names but they were kind enough to pose for photo. The only ones that didn’t turn up were biffy. 20 Minutes later Neil finally came outside, we asked him if it was possible to meet the guys for some fotos, chats and autographs. This was the 1st time he said “yeah they will be out in like 15-20 minutes at the latest…” which kept our spirits up.
To sum it up 2 hours later or so, finally James came outside which was a really nice treat, he patiently talked to us, signed my 27,57 singles and persuaded me to keep my Toys/JDI 7″ sealed. haha ;) We posed for a photo, hugs were consumed, and kindly gave each of us (at this time we were only in a threesome) a plectrum ;)
Half an hour later Ben almost managed to sneak outside hiding at the backside of a truck. Fortunatley I shouted “Bennnnnnnn!” and he came back with his trolley and a plate which seemed to be his dinner! Again we posed for a photo, signed my stuff and chatted to us. Again hugs were exchanged ;) He even saw me singing to all of their songs, exchanging eye-contact with him during the gig ;)
We let him off because he seemed quite hungry and tired ;)
10 Minutes later or so, Si finally came out. The finally piece of the Biffy Puzzle. This was weird, it was like meeting like a mega prominent person, you know like a superstar, who you usually expect to be high nosed and pissed off to fans. But he was totally the opposite, very down to earth as were the twins. We posed for a foto, again hugs were consumed and got my stuff signed and chatted a bit about puzzle, future touring action and about how biffy is the best band in the world
Whole Team Biffy seemed to just wait for Si to get on the bus so we let him off.
In the pouring rain we waited for the night bus and headed home.
GREAT GREAT NIGHT, Definitely a night to remember.
Thank you Biffy for a tremendous night, it was worth the wait :)
HUGE Thank you to Neil, who once again proofed that he is an awesome dude and even cooler Tourmanager! Thanks for everything! ;)
PS: Fotos are coming very soon, just waiting for my friend to get back to me!
Posted by Theresa at 08:47 AM | Comments (0) | TrackBack
March 11, 2007
Singles Jukebox - Stylus Magazine
Reviews over at Stylus - bit of a mixed bag...
Posted by Chris at 03:44 PM | Comments (0)
UK Music Search
Another positive one... slightly resenting the comment of putting MCR in the blender, given how long Biffy have been around... not to worry!
Posted by Chris at 02:45 PM | Comments (0)
March 10, 2007
Designer Punk
Lovely review of Saturday Superhouse over at Designer Punk . Cracking site, actually.
Posted by Chris at 01:35 PM | Comments (0)
March 07, 2007
Daily Record Razz
SCOTS rockers Biffy Clyro say they have been inspired by religion. The band, who appeared at HMV in Edinburgh and Glasgow yesterday, jokingly told the Razz: "We have joined a band of George Bush's Christians in our bid to take over America."
Posted by Chris at 07:43 PM | Comments (0)
March 06, 2007
Digital Spy Review
Posted by Chris at 09:42 PM | Comments (0)
January 17, 2007
Times Online Review
The music once known as heavy metal is suffering a serious identity crisis. In recent years, the genre’s most high-profile media cheerleader Kerrang! has increasingly championed softer forms of rock, notably the more melodic and emotionally expressive “emo” scene with its large and youthful fanbase. As a consequence, it has overtaken its chief rival, NME, in sales. Both publications now target the same readers, cover similar bands and promote themselves with package tours featuring up-and-coming acts.
There was certainly little in the way of traditional heavy rock when the latest Kerrang! tour arrived at Cardiff on Sunday night. Indeed, only the opening act I Am Ghost conformed to familiar genre clichés with their Gothic image and baroque sound. Alas, the Californian sextet also drew the short straw and played to a half-empty hall.
A slightly larger crowd greeted the next band, the Chicago natives Theaudition. Dressed in suburban-mallrat gear, they played songs that were pleasant enough in a lightly metallic, boy-meets-girl way. But like most emo kids, their polished power-pop proved instantly forgettable as soon as they left the stage.
Confusingly named the Bronx, the third American act on the bill actually hail from Los Angeles. They were also the evening’s most flat-out entertaining spectacle. Despite the singer Matt Caughthran being hobbled by a recent leg injury, the brawny young Tony Soprano lookalike still managed to command the stage with his breakneck bellowing and serial-killer grin.
Meanwhile, his colleagues played an ultra-percussive, rowdy racket in the style of a 1980s hardcore punk band. The overall effect was exhilarating, amusing and refreshingly non-emo.
The only Brits on the tour are the headliners Biffy Clyro, a Scottish trio whose complex song structures and angular guitar solos again owe little to traditional heavy rock. But they were clear favourites with the young Cardiff crowd, who roared along to old and new songs alike. Impressively, many had even memorised the lyric to the band’s choppy and ferociously fast new single, SemiMental, before its release. A clutch of more melodic tracks from their forthcoming fourth album, Puzzle, also went down well.
The influence of Nirvana and the Pixies on the singer and guitarist Simon Neil’s stop-start, loud-quiet, angry-sad songwriting is impossible to ignore, but generally positive. Biffy Clyro played a slick and professional set, which may even provide some pointers to the future of heavy rock — assuming this beleaguered genre actually has a future.
But all the same, the Bronx stole the show with their boorish, brilliantly stupid, bull-in-a-china-shop energy.
The tour continues at Nottingham Rock City, tonight; Southampton Guildhall, Thursday; Norwich UEA, Friday; Manchester Academy, Saturday; Newcastle Academy, Monday; Glasgow Barrowland, Jan 23; Liverpool Academy, Jan 24; Birmingham Academy, Jan 26; London Astoria, Jan 27
Posted by Chris at 09:56 PM | Comments (0)
Times Online Review
The music once known as heavy metal is suffering a serious identity crisis. In recent years, the genre’s most high-profile media cheerleader Kerrang! has increasingly championed softer forms of rock, notably the more melodic and emotionally expressive “emo” scene with its large and youthful fanbase. As a consequence, it has overtaken its chief rival, NME, in sales. Both publications now target the same readers, cover similar bands and promote themselves with package tours featuring up-and-coming acts.
There was certainly little in the way of traditional heavy rock when the latest Kerrang! tour arrived at Cardiff on Sunday night. Indeed, only the opening act I Am Ghost conformed to familiar genre clichés with their Gothic image and baroque sound. Alas, the Californian sextet also drew the short straw and played to a half-empty hall.
A slightly larger crowd greeted the next band, the Chicago natives Theaudition. Dressed in suburban-mallrat gear, they played songs that were pleasant enough in a lightly metallic, boy-meets-girl way. But like most emo kids, their polished power-pop proved instantly forgettable as soon as they left the stage.
Confusingly named the Bronx, the third American act on the bill actually hail from Los Angeles. They were also the evening’s most flat-out entertaining spectacle. Despite the singer Matt Caughthran being hobbled by a recent leg injury, the brawny young Tony Soprano lookalike still managed to command the stage with his breakneck bellowing and serial-killer grin.
Meanwhile, his colleagues played an ultra-percussive, rowdy racket in the style of a 1980s hardcore punk band. The overall effect was exhilarating, amusing and refreshingly non-emo.
The only Brits on the tour are the headliners Biffy Clyro, a Scottish trio whose complex song structures and angular guitar solos again owe little to traditional heavy rock. But they were clear favourites with the young Cardiff crowd, who roared along to old and new songs alike. Impressively, many had even memorised the lyric to the band’s choppy and ferociously fast new single, SemiMental, before its release. A clutch of more melodic tracks from their forthcoming fourth album, Puzzle, also went down well.
The influence of Nirvana and the Pixies on the singer and guitarist Simon Neil’s stop-start, loud-quiet, angry-sad songwriting is impossible to ignore, but generally positive. Biffy Clyro played a slick and professional set, which may even provide some pointers to the future of heavy rock — assuming this beleaguered genre actually has a future.
But all the same, the Bronx stole the show with their boorish, brilliantly stupid, bull-in-a-china-shop energy.
The tour continues at Nottingham Rock City, tonight; Southampton Guildhall, Thursday; Norwich UEA, Friday; Manchester Academy, Saturday; Newcastle Academy, Monday; Glasgow Barrowland, Jan 23; Liverpool Academy, Jan 24; Birmingham Academy, Jan 26; London Astoria, Jan 27
Posted by Chris at 09:56 PM | Comments (0)
December 09, 2005
Liquid Rooms, Daily Record
Barry Gordon
NORMALLY the Liquid Room smells of beer, fags and strong disinfectant.
But when Biffy Clyro play here everything smells of 1991 - such is the Kilmarnock trio's infatuation with Nirvana and Soundgarden.
BC put out an album every 12 months but while they've got lots of songs, there's no Smells Like Teen Spirit or Black Hole Sun.
That said, their live show is everything it should be: loud, hard, and fast.
Biffy Clyro may never be as great as their influences. Still, they're a dependable hard-rockin' outfit with plenty of biff
Posted by Chris at 03:32 PM | Comments (2)
August 27, 2005
Reading Festival Site Article
Just a short one this, but surely memorable for the classic incorrect naming of new song "Asexual Meat Kitchen" as "Asexual Wheat Pigeon" - almost guaranteed to be remember for years to come!
For the full article, click here.
BIFFY CLYRO
PRODUCE THE GOODS
Carling Weekend: Reading Festival
Main Stage
Saturday 27th August
2.10pm
In what must have been one of their most seminal gigs to date, Biffy Clyro stormed through their 45 minute Reading Main Stage set with limbs and guitars flailing in glorious style.
Opening with the now customary Glitter and Trauma, Simon Neil and co went on to play a dynamic blend of old and new material.
Highlights included a crowd acapella version of Just boy, the delightfully titled new song Asexual Wheat Pigeon, some unique crowd surfing techniques and the rousing closer, 57.
If you missed out on Biffy Clyro's Main Stage Reading set, then log onto www.tiscali.co.uk/reading to stream three live tracks filmed at the festival.
Roscoe Williamson
Also pleasant to see one of the Infinity Land era promo photos nicely cropped for use on the site.
Posted by Simon at 12:59 AM | Comments (0)
July 11, 2005
Review - T in the Park 2005 - Efestivals
Well... not so much a review as just some photos at present.
Edit: In fact, there're two sets. I like the banner, it has to be said!
Posted by Chris at 07:19 AM | Comments (0)
May 27, 2005
Student Union, Reading University
Review of the Reading University gig.
Glaswegian rockers Biffy Clyro must be a fan of Reading. Last year they played at BukandSkit Festival in Emmer Green, and they're playing there again this year on 19 June. If that wasn't enough, they also gigged at Reading Uni. Read the review.
In the midst of exams, the students of Reading University had been working hard, so this was the night for playing hard. Formed in the 90s, the Glaswegian Biffy Clyro is a band that likes to play it their own way, shunning the commercial musical rat race and ‘keeping it real’. They prove this in every live performance.
With vague comparisons to Weezer and Jimmy Eat World, Biffy are not a band that I’d like to see get any bigger, just because the touring of smaller venues makes their powerful chords and emotive tracks seem even more individual.
Opening up with Glitter And Trauma, the first track from their first album Infinity Land, Biffy Clyro strike down upon the beying University crowd. The bouncers are out straight away as the whole room jump from the first chord. Their powerful lyrics and emotive guitar riffs inspire the audience to chant: “Biff-y! Biff-y!” once this first track is over. The first mosh pit of the evening starts heaving during the second, heavier song, Babes.
Their power and energy is, in a word, overwhelming. With the first crashing notes of anthemic track Just Boy, there isn’t one person not jumping and singing along with the band.
As a three-piece, this band knows how to work the stage, with all of them sharing their vocal duties. The musical build-up during All The Way Down sends the crowd palpably crazy, the first crowd surfers riding on the crest of the energetic pit. Everyone feels the intensity, and heavy-laden new track Kids starts a circle pit with more frenzied fans. Quite rightly the Captain receives a welcome chant of: “We love you Biffy, we do!”
If you think it can’t get better than this, Questions And Answers becomes the sweat-dripping track that bathes the venue. With its powerful lyrics, a move away from the distortion pedal and drummer Ben Johnston pounding every muscular fibre into every drumbeat, this track is the reason Biffy are truly amazing.
This phenomenal buzz that enraptured us from the start of the night climaxes with a stage dive from guitarist Simon Neil during final track Now The Action. The crowd naturally welcome Simon into their dripping arms, sealing off an electric gig that will certainly be filed under one of the best Reading University gigs of all time.
Posted by Chris at 03:06 PM | Comments (0)
May 22, 2005
Review - Leeds Met Uni
From Stereohead.co.uk
The amount of times I here ‘Mon The Biffy’ tonight, if stretched in font 10
end to end would circum navigate the world 6.5 times. Fact.
Is their a limit to the amount of times a band is medically able to tour? If
there is pray for Biffy Clyro as they play way too many shows for their own
good. This tour, tentatively in promotion of new single ‘Only One Word
Springs To Mind’, is another biggy from one of the most credible UK bands
doing the rounds at the moment. It seems as if they don’t really need an
excuse to tour anymore anyway, in house conversations must go something like
- “oh look it’s the 10th Sunday after Pentecost? Right here we go again
lads.“ Now that’s grafting.
Truth is Biffy really do deserve all the recent plaudits from media and fans
alike, after so many years in the wilderness it turns out diversifying their
sound and upping the weirdness factor actually progressed their careers, go
figure. Ah yes it’s the age old tale of the hare and the tortoise re-written
for the modern day UK rock chronicles. While Hundred Reasons and Hell Is For
Heroes rushed out of the blocks and had big selling debut albums but were
then unceremoniously dropped earlier this year, Biffy Clyro have kept
plugging away, playing the toilets of the British Isles, building up a vast
fan base and releasing ever advancing, more challenging albums and finally
they’re approaching the finishing line. To add extra irony to the saga it’s
the very same Hell Is For Heroes that are supporting tonight. It’s a
touching tale of how hard work, determination and sacrifice can pay off.
Stay in school kids.
So then, Leeds Met. it is, definite proof Biffy have stepped it up a notch
after playing the Cockpit in September? or a one off? They’ve sold this
place out easily so it looks unlikely they’ll be disappearing any time soon,
unluckily for anyone that hasn’t witnessed them in full flow in a more
intimate setting but tonight Biffy Clyro prove they can rock with the best
of them no matter what the setting,
Formed from the ashes of hardcore mob Will Haven , er, hardcore mob
Ghostride have the relatively tame task of warming an already pumped crowd
up. But seriously, hardcore thrashing on a Biffy bill? It’s not the best of
choices. They aren't that bad in reality. Very grimy in a ‘we haven't
cleaned behind the toilet in 25 years’ kinda way and equally as unpleasant
to look at (sorry, I didn’t have a chance to smell them but I assume
similar), They chug away incessantly with the vocals just this side of
screamed and there is enough melody there to be bearable but after 3 songs
it’s fair to say I've had enough and retreat to the bar.
Do people still care about Hell Is For Heroes? You bet your left testicle
they do. A very dishevelled looking Justin Schlossberg has to be in with a
shot of winning most intense and self harming frontman around at the moment
(as well as vocalist with hardest to spell surname which he’s won 3 years
running and has a meticulously polished trophy on his mantelpiece to that
effect). Kicking off with comeback song ‘Kamichi’ its a set of superb
numbers which go to prove how vital HIFH are. I almost wish this was a
co-headlining show as Hell Is For Heroes are just superb in whatever format
you find them. ‘Retreat’ is the only sorely missed absentee but
‘Nightvision’ and ‘I Can Climb Mountains’ are as immense as ever and the
crowd lap it up in a big way. The new songs in some respects pale in
comparison (case in point ’Models For The Programme’) but hopefully that’s
just down to the fact their growers. HIFH deserve to be back on top of the
pile in 2005, check them out headlining in April.
It’s time for the purveyors of the anti-overnight success Biffy Clyro then.
Do you like pretentious band introductions? Then you’ll love Biffy, 5 odd
minutes of rumbling and lighting effects that even Space Mountain couldn’t
top are the preview to a stonking ‘Glitter and Trauma’ where not pogo-ing
would result in premature death. It’s just not an option for a long while.
It’s amazing just how many amazing hits Biffy Clyro have in their arsenal,
at least 3 huge classics from each of their 3 albums plus a supporting cast
of many more extremely strong tunes. Tonight's setlist turns out to be a tad
toooo long though (as a sprint to the train station ensured following
completion), it could have been condensed slightly more but maybe Simon Neil
and the Johnston Brothers are saying a big thanks to all the diehard (of
which their are many) fans here in Leeds tonight by playing such a
substantial amount of material. On top of that it appears lead vocalist
Simon is enjoying it more tonight than he has previous, my last Biffy
experience in September for example I believed was a much more lacklustre
display than tonight's excellent display. Highlights are impossible to
trace but the usual suspects of ‘Justboy’ and ‘Ideal Height’ are never going
to be less than exquisite. Everything a show should be, great music, great
atmosphere, great band.
A notch has indeed been risen but will this be the last stop of Biffys road
to domination or have they got more in the bag? If you’re a Biffy Clyro fan,
I don’t think you need me to answer that.
9/10
Luke_Ramsden_
Posted by Chris at 11:17 PM | Comments (1)
March 10, 2005
Review - Bristol Anson Rooms
Review of the Bristol Anson Rooms gig from Rock Review
The proverbial saying, ‘Slow and steady wins the race’ is often ignored by many and laughed at by others but it is not often more true than in the music industry. Tonight’s main attraction, Biffy Clyro, are a good example of this, having released an album a year for the past 3 years on the relatively small Beggers indie label their support has grown steadily upwards since their classic ‘Blackened Sky’ opus hit in ‘02. In stark contrast supports Hell Is For Heroes are a model example of (for lack of a better phrase) peaking too soon, having released their debut (and actually rather good) ‘Neon Handshake’ album on a major label, large scale touring, festival appearances and hype overdrive followed but as happens to many bands in this situation they were dropped by their label, sunk like a bomb and now find themselves supporting one of the bands they were once as big as.
So it is here, at the ram packed Bristol University that we see American outsiders Ghostride open. Unfortunately though this band were dire, their uninspiring, old and frankly boring brand of metal was just not suited for this kind of occasion. Some members of the audience got into them but the rest just headed straight for the bar and milled about outside. Maybe they just didn’t click tonight, most of the songs sounding all too familiar with little to distinguish one from another. On another night, another occasion Ghostride might have shined, but not tonight.
Hell is for Heroes on the other hand were actually rather good, playing a set littered with new songs along with some past favourites they got the crowd going more than perhaps some may have initially expected. It was songs such as, ‘Night Vision’ and ‘Five Kids Go’ from the aforementioned debut album which saw quite a large participation of the crowd singing along, testament to this band’s longevity. Some may see Hell is for Heroes as a band on the way out, but tonight was proof that there’s still life in them yet.
Following a rather elongated classic piece as an intro Biffy Clyro came on to the techno start to their as their most recent ‘Infinity Land’ album, before launching head first into the impressive, ‘Glitter and Trauma’, getting the crowd whipped up into a frenzy. No expense had been spared for this tour, with a huge backdrop coupled with side of stage imagery the band also employed a very effective lighting rig. This combined showed the band in a much more mature light, far from their earlier shows which relied on their raw energy to create atmosphere, its clear that now they have moved up to the next level.
Splitting the tracks almost equally between albums they played classics such as ‘The Go-Slow’ and ‘Justboy’ along with new favourites, ‘Only One Word Comes To Mind’ and ‘The Kids From Kibble’, the latter proving a mosh friendly live favourite. The seamless sweep from new, ‘Wave Upon Wave Upon Wave’ to old, ‘Joy.Discovery.Invention’ showed exactly how much depth this band have, from the epic-ness of the former to the endearing naivety of the latter.
Leaving the stage following crowd favourite‘There’s No Such Thing As A Jaggy Snake’ cheers of ‘Mon the Biffy’ rang out through the venue, prompting guitarist Simon Neil – a man becoming increasingly biblical in appearance – to take to the stage for an acoustic rendition of ‘The Atrocity’. With a single spotlight on the frontman, lighters were aloft as the crowd joined in with a singalong of ‘I don’t wanna die / Don’t expect me to die / We can live forever’. With the full band returning to the stage Biffy Clyro ended with the awesome ‘Toys, Toys, Toys’ and the timeless classic, ‘57’.
Moral of the story? None in particular, but mark my words, if Biffy keep going like this there’ll be no stopping them.
Posted by Chris at 07:27 AM | Comments (0)
February 24, 2005
Infinity Land - Review - Music Emissions
Infinity Land is the Glasgow-based Biffy Clyro's third full-length and I have been watching this band grow since day one. Infinity Land ends up being a little schitzophrenic with it's delivery though. The first track on the album (the first single as well), "Glitter and Trauma" is one of the juciest slabs of alterna-pop that I have heard in quite some time. And for the most part Infinity Land is pretty much along this track, semi-accessible pop tracks that have a bit of an angular approach to them. "Wave Upon Wave" is one of the easiest to get into. It's got a driving beat to it with some chuggy lyrics sounding like Shudder To Think a little. There is this accessible sound and then they get all hardcore metal on us on tracks such as "Only One Word Comes To Mind" or the post-hardcore sound of "There's No Such Thing As A Jaggy Snake". "The Kids From Kibble and the Fist Of Light" sounds like a Jimmy Eat World song. Then there is the overly ambitious song "My Recovery Injection" that is just screaming to be released as a single. It's a funny mix but seeing that the UK has hooked onto them, they may just make it. They have been hailed as one of England's hardest working bands and that would probably explain their big fanbase in the UK. Infinity Land is a very ambitious album that Biffy Clyro should be proud of. Whether or not they catch on State-side is another story but rest assured, Infinity Land has what it takes.
(Beggars 2005)
Review date: 2005-02-24 23:49:27 by Dennis Scanland
Posted by Chris at 10:12 PM | Comments (0)
October 11, 2004
Infinity Land Review - BBC Music
Last time we saw this Glasgow three piece, they were being tipped for great things but couldn’t sell out a phone box. Now, thanks to Kerrang and relentless touring, they have a top 30 single and this album could quite easily go top ten. Why?
Infinity Land
Glitter And Trauma
Strung To Your Ribcage
My Recovery Injection
Got Wrong
The Atrocity
Some Kind Of Wizard
Wave Upon Wave Upon Wave
Only One Word Comes To Mind
There’s No Such Man As Crasp
There’s No Such Thing As A Jaggy Snake
The Kids From Kibble And The Fist Of Light
The Weapons Are Concealed
Pause It And Turn It Up
Out on Beggars Banquet
Rating: 8/10
Reviewer: Paul Clarke
Well, it’s partly the hard work but it’s also the fact they are a genuinely clever band who play with time changes and power chords as if they were rawk veterans.
The aforementioned hit single, Glitter and Trauma (number 21 pop pickers), sums them up with an unsettling squeaky electronic intro, big chords and Simon Neil’s wonderfully committed voice. Oh, and brothers James ands Ben Johnson are one hell of a rhythm section.
Forthcoming single My Recovery Injection is way more catchy and, on the back of their next tour, will definitely crash into the top 20. But at this heart of all this goodness is an odd schizophrenia. On one hand they are a competent rock band so you can see why Kerrang might rate them but they are also a wonderful indie band. In a way, that is where they score best.
The Atrocity is a new form that I dub neo-rock-emo and this semi-ballad has touches of very early REM, while Some Kind of Wizard is out and out emo, before they dip into dull rock with Wave Upon Wave Upon Wave.
The song that hints at greatness for the Biffy boys is the simply stunning There’s No Such Man As Crasp. Scary isn’t in it as Simon Neil puts down a spine tingling vocal only performance that is the best vocal performance I’ve heard this year. Truly beautiful.
Infinity Land is their breakthrough album and they are ready to take on the Lost Prophets as Britain’s best new rock act. But they could also take on the indie kids too. Maybe that is a weakness but on this showing it doesn’t matter. A quantum leap from the last time they appeared on record.
Posted by Chris at 12:59 PM | Comments (1)
October 10, 2004
Infinity Land - Review - Leeds Music Scene
Scotland's sonic purveyors of progressive alt-rock return with their third album in as many years. Throughout this timeframe we have witnessed the bands initial fusion of cathartic pop/metal grow increasingly sophisticated, with the three-piece's latest offering Infinity Land being a great example of what may-or-may-not become known as "everything but the kitchen sink-Rock".
Indeed, upon first-inspection of opening track Glitter and Trauma you'd be forgiven for being completely gazumpted by the notion that this is the same Biffy that are frequently derided as angst-ridden Nirvana clones. Layers of bastardised Euro-synth pop give way to abrasive guitars and a phat-assed groove that could be straight out of the heyday of Motown. Well, not quite but you get the idea. Likewise, recent single "My Recovery Injection" is a fine example of how to create a beautifully crafted mellow schizo-rock song. Elsewhere "Got Wrong" is the best song Weezer never wrote, and Wave Upon Wave Upon Wave" is a tour-de-force in moulding together screaming, vocal harmonies and handclaps and making them all sound good together. Genius.
It's also a positive sign to hear the band taking more time over the recording of this album, as opposed to the one day that previous effort "The Vertigo of Bliss" took to lay down. The overall impression is of a band that are more confident in a studio environment, not afraid to experiment and layer their sound.
Infinity Land does not pass without criticism however; the new experimental streak that runs throughout the album has unfortunately resulted in a big twatting trumpet being put on "The Weapons are Concealed", which lends the song the general feel of a cheesy 70's cop-show. I don't know about you, but I've always thought 70's cop shows were pants. Ultimately though, this is a minor quibble in the grand scheme of things.
Intensely intricate with complex instrumental intercourse, Infinity Land is the sound of a band reaching its musical zenith. Essential listening for all of the emo/hardcore/math-rock/fraternity. Tell all of your friends.
Posted by Chris at 10:08 PM | Comments (0)
October 04, 2004
Infinity Land - Review - BBC Alt & Rock
Scottish three-piece Biffy Clyro certainly don't hang about when it comes to bashing out new records. Unlike most bands who release an album perhaps once every two to three years, these hard sloggers completely break the mould by releasing an LP every 12 months. The amazing thing is that Infinity Land, their third record, sounds so complex at times that you'd have thought it would have taken them years to complete.
The album, which was produced by the band and with the help of Foo Fighters and Feeder producer Chris Sheldon, is crammed with 13 sprawling songs that are a testament to the Scottish trio's work rate.
The genius of Infinity Land is the band's ability to lace sweet sounding melodies with brutal guitar riffs, heavy drum-rolls and unpredictable stop start arrangements.
The aptly titled opening track 'Glitter And Trauma' is a fine example of this, kicking off with a series of scratchy dance beats before bursting into meaty guitar hooks set against singer Simon Neil's gentle vocals. At times he almost sounds like Queens Of The Stone Age frontman Josh Homme.
But any further comparison ends there. From here on in Neil's vocals switch from harmonious ('The Atrocity') to full on screeching ('Strung To Your Ribcage'). Despite the former track's gentle approach, the words are extremely desolate as the haunting lyrics: 'I don't wanna die. Don't expect me to die', clearly reinforce. This is mirrored in the traumatic 'Wave Upon Wave' where Neil talks about a knife in his hand covered in blood.
Nearly every song is unpredictable. Even the album's heaviest number 'Theres No Such Thing As A Jaggy Snake' completely trips you up with its melodic twists.
As a result Biffy Clyro can only be applauded for pushing the boundaries so brilliantly. Infinity Land is without doubt the band's finest material to date.
Reviewer: Damian Jones
There are some absolutely scathing comments on the bottom of the article...
Posted by Chris at 03:01 PM | Comments (0)
June 27, 2004
Review - BukandSkit festival
Finally the wait was over. Drunken girls stumbled, young boys harassed the Funeral posse who had popped over for a gander, and tensions were running high for the headlining band, Biffy Clyro.
But the wait was inevitably worth it. The trio bursting straight into 'Bodies In Flight,' one of their more complex and experimental songs.
New single 'Glitter and Trauma' raised a few eyebrows. - Of Biffy Clyro
Next, monumental love song '57' had heart beats racing at break neck speed, vocalist Simon's affectionate voice caressing his lyrics, whilst brothers Ben and James provided soaring echoes of angst - a truly beautiful song.
New single 'Glitter and Trauma' raised a few eyebrows, its cheesy title and disco-punk intro, complete with disco lights, not exactly customary of the Scottish three.
However, all hope was not lost as the meaty metal edge of the verse signified the return of the true Biffy style.
Biffy have seemingly single-handedly created for themselves a genre that combines the emotional awareness of emo, the catchy yet fragile tendencies of indie-rock and the searing riffs of metal, best exemplified in 'Convex, Concave,' that bands like Next Nine Days and The Big Sleep can only hope to touch upon.
Biffy's talent lies far above the monotony of punk rock, they have managed to create music appealing to a wide range of audiences, yet still remain out of the mainstream limelight, something that I hope they can maintain in their careers.
Catch their UK tour in September and October this year.
It was a perfect ending to the day. Glastonbury may well have entertained with some of the world's most renowned acts, but the Bukandskit Fest entertained with the Best of British and the best of British to come.
Posted by Chris at 10:01 PM | Comments (0)
Review - BukandSkit festival
Finally the wait was over. Drunken girls stumbled, young boys harassed the Funeral posse who had popped over for a gander, and tensions were running high for the headlining band, Biffy Clyro.
But the wait was inevitably worth it. The trio bursting straight into 'Bodies In Flight,' one of their more complex and experimental songs.
New single 'Glitter and Trauma' raised a few eyebrows. - Of Biffy Clyro
Next, monumental love song '57' had heart beats racing at break neck speed, vocalist Simon's affectionate voice caressing his lyrics, whilst brothers Ben and James provided soaring echoes of angst - a truly beautiful song.
New single 'Glitter and Trauma' raised a few eyebrows, its cheesy title and disco-punk intro, complete with disco lights, not exactly customary of the Scottish three.
However, all hope was not lost as the meaty metal edge of the verse signified the return of the true Biffy style.
Biffy have seemingly single-handedly created for themselves a genre that combines the emotional awareness of emo, the catchy yet fragile tendencies of indie-rock and the searing riffs of metal, best exemplified in 'Convex, Concave,' that bands like Next Nine Days and The Big Sleep can only hope to touch upon.
Biffy's talent lies far above the monotony of punk rock, they have managed to create music appealing to a wide range of audiences, yet still remain out of the mainstream limelight, something that I hope they can maintain in their careers.
Catch their UK tour in September and October this year.
It was a perfect ending to the day. Glastonbury may well have entertained with some of the world's most renowned acts, but the Bukandskit Fest entertained with the Best of British and the best of British to come.
Posted by Chris at 10:01 PM | Comments (0)
June 10, 2004
Review - Download Festival
From: E festivals
Scottish emo stars, Biffy Clyro, have risen to fame in recent years and have become a household name. Running half an hour late, they walk out to a rapturous applause – despite the fact that I hear a few people go “Who are these guys? It doesn’t look like Static-X”.
The threesome get off to a good start with the powerful guitar riffs and soaring vocals that have given them emo-superstar status. After the first half of the set, however, something just seems to go wrong. My interest dissipates and the vocals move from soaring to painful.
The crowd love this band. To them there is very little that BC could ever do wrong. This was shown when they played at the Limp Bizkit gig a year ago – they may have sounded aweful but the crowd didn’t care. To a non-fan, however, the set ends tediously.
There is definite potential from this band, but almost a year after I last saw them, there are few signs of performance improvement. Perhaps it’s best to enjoy them from the comfort of your CD player for now.
review by Guy Powell
Posted by Chris at 09:57 PM | Comments (0)
December 06, 2003
Review - Glasgow SECC, Supporting Feeder, with Aqualung
From Glasgow UNi's Subcity Radio site. :)
How dare anyone nominate the SECC as the best gig venue in Glasgow. Let this be a lesson to the misguided: you can criticise the QMU for its preposterously early starting times, but they have their money-spinning club nights to host. What exactly was going on at the SECC that required Biffy Clyro to kick off proceedings at 7.30? If a gig is on a Saturday night i don't start thinking about it until 7.30- who do they think we are?
I know most support bands are largely ignored, with good reason, but a lot of locals who wouldn't have minded seeing the cacophonous Glasgow trio on that huge stage arrived at the reasonable time of eight to find Biffy winding up their last song. Why exactly were Biffy first on the bill? What have Aqualung done that's so amazing? Oh yeah, that car advert. Well, both bands suffered the curse of the SECC support act- the poorest sound quality you will hear in a Glasgow venue is here in this huge hanger during the support slots. I came here to see Idlewild support Coldplay in 2002 and was sickened by what they did to my favourite band. On the other hand that night saw me fully converted into a Coldplay fan- i nearly bought a coffee table upon which to rest my copy of Rush of Blood to the Head.
It is safe to assume that the headline act at the SECC will sound awesome, it's a stadium- that what they're for- but support bands deserve their chance to warm up for the headliners properly. They are not just names that look nice on the poster, the punters pay to see them too and it's a chance for second-album bands to prove themselves to a wider audience, the kind of audience that shells out fifteen pounds to see Feeder. I doubt anyone was convinced by Biffy, as they sounded like they were coming to us live via internet radio from the abyss.
It seems that not only are Aqualung the perfect backing music for selling a pretty wee car, but hearing them as a distant rumble provides the perfect soundtrack for twenty minutes of standing at an understaffed, overcomplicated excuse for a bar, being ignored by a juvenile ginger hireling who seemed only to serve women who stood either side of me and the plump fellow who spent ten minutes leaning on my shoulder before he was served. Adding insult to that injury, said plump fellow addressed me with the following words in what he thought sympathy sounded like, 'you were here before me weren't you'. Thanks mate, for acknowledging that you had so self-servingly intercepted the barman when you knew full-well I should have been served first! I hope you had a brilliant night and went home to your Stereophonics albums warm in the comfortable aura of the guiltless pride you take in your own selfishness. For heaven's sake, I only wanted a bottle of water and an Irn Bru. Twenty minutes!
Despite the frustrations I encountered at the SECC and my grievances with that particular Feeder fan, I was looking forward to seeing the headliners, who are arguably one of the biggest bands in Britain. Although their most recent material is a little on the muddy side, their first and second album yielded a handful of songs that excite something like nostalgia in me. You'd also be surprised at how many Feeder songs there are and how many you know. Also bear in mind the tragic loss of their drummer not so long ago. While it seems to the idle record buyer that Feeder churn out album after album without progressing too far in sound or scope, it might just be possible that when other, dare I say it, cooler bands than this are forgotten, Feeders back catalogue will characterise this era of British music in decades to come. They've had their hits of course, and I must say I looked forward with some interest to how the crowd would react to Buck Rogers. I was personally more excited to hear songs like Insomnia and the frankly beautiful Yesterday Went To Soon.
I was reminded that there is nothing really offensive about Feeder. They don't shout too loud or sing too low. Yes, they do deploy the simplest guitar riffs of all time and have a predisposition to start verses with some summary of the writer's "feelings". But having said that, songs like Just The Way I'm Feeling are bearable. The visual backdrops make proceedings move that little bit quicker for the poor souls in the seats, from which perspective the sight of about 10,000 people heaving themselves into the air for Buck Rogers and chanting 'I think we're gonna make it' was practically life-affirming.
A few rows down from us in the stands was a man and his young son in matching leather jackets and throughout the gig the boys father held his arm firmly around his son's shoulders. That alone warmed my heart. That may well have been the boy's first gig and I'm happy for him. Hopefully it was an inspiration for him and a source of pride for his dad. Feeder are a fine band for a first gig; fine family fun all round.
Added: Wednesday, February 11, 2004
Reviewer: Robin Davis
Score: 3/5
Posted by Chris at 05:34 PM | Comments (0)
June 26, 2003
BBC Nottingham Review - Vertigo Of Bliss
From: BBC Music - Nottingham pages on the BBC site (a wealth of information if ever I saw it!)
Having a fun time?
The one with the naughty picture on the cover.
Well this has got them talking in the office and not because of the music.
The old duffers are shocked at the adverts accompanying this release (and indeed the cover shot of the album).
We present the sanitised version. In full flow, well, let’s say the lady in question is having enough fun without a man.
So do Biffy Clyro need to resort to such shock tactics in order to make pubescent boys but their product? Frankly no because this is a pretty decent collection of songs.
It all starts in a heavy, almost nu metal mode on Bodies in Flight. But fears that the Biffs are just another bunch of Linkin Park wannabies are soon dismissed.
This is a collection which veers in musical styles. It’s difficult to pin them down. Maybe safer to say they’re a (very) heavy version of Athlete.
Not that you can find out much about the band from the CD packaging which is, frankly, rubbish.
Aside from the attention grabbing drawing you get a picture of the trio and a few liner notes. Poor.
Which is a shame, because musically, Biffy Clyro are a band which you want to find out more about.
The Vertigo of Bliss is released on Beggars Banquet BBQCD233
3.5/5
Posted by Chris at 09:14 PM | Comments (0)
BBC Nottingham Review - Vertigo Of Bliss
From: BBC Music - Nottingham pages on the BBC site (a wealth of information if ever I saw it!)
Having a fun time?
The one with the naughty picture on the cover.
Well this has got them talking in the office and not because of the music.
The old duffers are shocked at the adverts accompanying this release (and indeed the cover shot of the album).
We present the sanitised version. In full flow, well, let’s say the lady in question is having enough fun without a man.
So do Biffy Clyro need to resort to such shock tactics in order to make pubescent boys but their product? Frankly no because this is a pretty decent collection of songs.
It all starts in a heavy, almost nu metal mode on Bodies in Flight. But fears that the Biffs are just another bunch of Linkin Park wannabies are soon dismissed.
This is a collection which veers in musical styles. It’s difficult to pin them down. Maybe safer to say they’re a (very) heavy version of Athlete.
Not that you can find out much about the band from the CD packaging which is, frankly, rubbish.
Aside from the attention grabbing drawing you get a picture of the trio and a few liner notes. Poor.
Which is a shame, because musically, Biffy Clyro are a band which you want to find out more about.
The Vertigo of Bliss is released on Beggars Banquet BBQCD233
3.5/5
Posted by Chris at 09:14 PM | Comments (0)
January 13, 2003
Blackened Sky Review - Popmatters
From:
BIFFY CLYRO
Blackened Sky
(Beggars Banquet)
US release date: 6 August 2002
UK release date: 11 March 2002
by Jason MacNeil
Biffy Clyro started out as a teenaged group in the mid-'90s in a small village in Scotland. Influenced by Nirvana and Guns 'N Roses V.1.0, the duo of Simon Neil and Ben Johnston discovered what a distortion pedal should and shouldn't do. Some university years ensued with studies concentrating around their music more than books, resulting in more ink and more coverage in the indie music scene. After being discovered at the annual T in the Park in 2000, Biffy Clyro honed their sound to include a lot of independent favorites like Fugazi and Aerogramme. Now with its debut effort out and still in their youthful twenties, the group has made a debut album that starts off as a cross between the pop hues of XTC and the bland jock rock of Nickelback. Confused? Well, you should and shouldn't be.
The leadoff song, "Joy.Discovery.Invention" has a lovable harmony between each of the three members, all of who sing lead. There is no buildup to what transpires though, a loud and brooding "nu-metal" sound that is a bit over the top. Taking it down a notch or four for the bridge, the group sounds like they're onto something, but get lost in some sonic sludge. It's a good song generally, but the dichotomy is far wider than imagined. "27" has a nice and melodic chord progression in the vein of current U2 while Simon Neil gives a very good performance. Possessing a deliberate building style, the guitars don't sucker punch the listener and are far better off for it. Keeping the guitars in for the remainder of the track, the band hits all cylinders and resembles musicians far older than their youth.
"Justboy" has an infectious Incubus-like pop rock groove that gains steam. A bland chorus has the sing-a-long effect in spades, but isn't the payoff one might anticipate. It grows on you though for an excellent homestretch. Biffy Clyro often aren't shy to take chances, thus the uneven quality to the record shines on the inane and heavy opening on "Kill the Old, Torture Their Young". Resembling the latter day Manic Street Preachers in its reflective mood, the band returns to a pensive and lightweight pop rock format. But the drums are heavy enough to hint at what's to evolve (devolve?). Beach Boy vocals behind a harder rock sound rarely work, and here is no different. After the five-minute mark, the song veers off into an interesting instrumental section. "The Go-Slow" is perfectly polished emo-punk a la Jimmy Eat World, demonstrating the band's myriad of influences. Although it's void of the hook like "The Middle" or "Sweetness", there is enough in the chorus to put it over the bar. "Christopher's River" is the record's highpoint, a gorgeous mix of melody and brawn that isn't overkill. The harmonies also add a lot of texture to the tracks.
"Convex, Concave" is a murky Pearl Jam attempt that speaks of innocence before moving into an almost elementary school tempo and formula. The drumming comes to the fore but for all of the wrong reasons, too dominant at times while too small in others. The guitar 90 seconds in save it temporarily but it goes off on a weird musical tangent. It also sounds like a phone is ringing in the distance, so be forewarned it isn't your own. Too grandiose and prog-rock, therefore resulting in its downfall. "57" brings Remy Zero to mind as well as the Goo Goo Dolls. "Hero Management" is a soft pop tune with a "woe is me" structure, a touch of alternative guitar that the Cure personified decades ago. Again there are brief moments of genius, particularly the middle instrumental portion, a blend of punk and rock progressions.
The last quarter of the record is a mishmash of various influences that shows the best and worse of the band. "Solution Devices" is again Linkin Park "nu metal" despite the Biffy Clyro bio stating they aren't "nu metal". "Stress on the Sky" is tidier in its production, pieces of Primus and Incubus melded with some blood-curdling wails that do little for the number. Biffy Clyro offer a little bit of something for everyone, which is something few acts are capable of. What this means for future projects and a loyal fan base is hard to determine. Generally a credible first step despite some lapses in judgement.
Posted by Chris at 02:54 PM | Comments (0)
Blackened Sky Review - Popmatters
From:
BIFFY CLYRO
Blackened Sky
(Beggars Banquet)
US release date: 6 August 2002
UK release date: 11 March 2002
by Jason MacNeil
Biffy Clyro started out as a teenaged group in the mid-'90s in a small village in Scotland. Influenced by Nirvana and Guns 'N Roses V.1.0, the duo of Simon Neil and Ben Johnston discovered what a distortion pedal should and shouldn't do. Some university years ensued with studies concentrating around their music more than books, resulting in more ink and more coverage in the indie music scene. After being discovered at the annual T in the Park in 2000, Biffy Clyro honed their sound to include a lot of independent favorites like Fugazi and Aerogramme. Now with its debut effort out and still in their youthful twenties, the group has made a debut album that starts off as a cross between the pop hues of XTC and the bland jock rock of Nickelback. Confused? Well, you should and shouldn't be.
The leadoff song, "Joy.Discovery.Invention" has a lovable harmony between each of the three members, all of who sing lead. There is no buildup to what transpires though, a loud and brooding "nu-metal" sound that is a bit over the top. Taking it down a notch or four for the bridge, the group sounds like they're onto something, but get lost in some sonic sludge. It's a good song generally, but the dichotomy is far wider than imagined. "27" has a nice and melodic chord progression in the vein of current U2 while Simon Neil gives a very good performance. Possessing a deliberate building style, the guitars don't sucker punch the listener and are far better off for it. Keeping the guitars in for the remainder of the track, the band hits all cylinders and resembles musicians far older than their youth.
"Justboy" has an infectious Incubus-like pop rock groove that gains steam. A bland chorus has the sing-a-long effect in spades, but isn't the payoff one might anticipate. It grows on you though for an excellent homestretch. Biffy Clyro often aren't shy to take chances, thus the uneven quality to the record shines on the inane and heavy opening on "Kill the Old, Torture Their Young". Resembling the latter day Manic Street Preachers in its reflective mood, the band returns to a pensive and lightweight pop rock format. But the drums are heavy enough to hint at what's to evolve (devolve?). Beach Boy vocals behind a harder rock sound rarely work, and here is no different. After the five-minute mark, the song veers off into an interesting instrumental section. "The Go-Slow" is perfectly polished emo-punk a la Jimmy Eat World, demonstrating the band's myriad of influences. Although it's void of the hook like "The Middle" or "Sweetness", there is enough in the chorus to put it over the bar. "Christopher's River" is the record's highpoint, a gorgeous mix of melody and brawn that isn't overkill. The harmonies also add a lot of texture to the tracks.
"Convex, Concave" is a murky Pearl Jam attempt that speaks of innocence before moving into an almost elementary school tempo and formula. The drumming comes to the fore but for all of the wrong reasons, too dominant at times while too small in others. The guitar 90 seconds in save it temporarily but it goes off on a weird musical tangent. It also sounds like a phone is ringing in the distance, so be forewarned it isn't your own. Too grandiose and prog-rock, therefore resulting in its downfall. "57" brings Remy Zero to mind as well as the Goo Goo Dolls. "Hero Management" is a soft pop tune with a "woe is me" structure, a touch of alternative guitar that the Cure personified decades ago. Again there are brief moments of genius, particularly the middle instrumental portion, a blend of punk and rock progressions.
The last quarter of the record is a mishmash of various influences that shows the best and worse of the band. "Solution Devices" is again Linkin Park "nu metal" despite the Biffy Clyro bio stating they aren't "nu metal". "Stress on the Sky" is tidier in its production, pieces of Primus and Incubus melded with some blood-curdling wails that do little for the number. Biffy Clyro offer a little bit of something for everyone, which is something few acts are capable of. What this means for future projects and a loyal fan base is hard to determine. Generally a credible first step despite some lapses in judgement.
Posted by Chris at 02:54 PM | Comments (0)
March 18, 2002
Scotsman Review - Session in Scotland tour
Live Reviews: Session in Scotland Tour
King Tut’s, Glasgow
The Radio One "Session in Scotland Tour" is a snapshot of the current Scottish indie scene, highlighting the acts that will - they hope - matter in years to come. In the case of support act Eska, this attention is long overdue. For sure, they’re not an easy listen, choosing to chuck more ideas into a single song than most bands stretch over a long player, but this scattershot approach makes the band an attractive proposition. With constant jump-cuts from histrionic prog-metal riffing to tense, jerky math-rock, all embellished with noodling guitar runs, Eska run the risk of losing their audience.
The band play with such urgency and verve, however, that, even when they stretch songs to breaking point, it’s hard to avoid being swept up by their bloody-minded commitment to innovation.
The same can’t be said of Biffy Clyro. The headliners are mere copyists. They might be assured players, but as they wheel out tired clichés, from the constipated Cobain-style vocals to the staple quiet/loud song structure, it’s hard to understand how Biffy Clyro have clawed their way up to top billing while the superb Eska languish in support.
Jack Mottram Monday, 18th March 2002
The Scotsman
Posted by Chris at 01:40 PM | Comments (0)
March 11, 2002
Blackened Sky Review - PlayLouder.com
There is a school of thought that says that emocore is fundamentally an updated version of collegiate rock circa 1991, while nu-metal is simply a rebranding of grunge from that same era. In which case, that school's pupils would have a field day with Biffy Clyro.
Three Scots who formed in 1997 - impressively, the precise mid-point between the existence of the aforementioned genres old and new - this long worked-on debut album is stuffed with the sort of careering, crashing modern rock music which should have the young hordes in their hoodies scampering towards the tills. A blissful balance of radio-hugging tunes such as '57' and 'Justboy' and groaning, angst-smeared indulgences such as 'Christopher River', on the surface this is a record which could only possibly exist today.
Yet beneath that sprawling, lurching, claustrophobic surface (not for nothing is this album called 'Blackened Sky') out pop curious anomalies which could only possibly be blamed on the band's mid-90's formation: there's the ghost of Buffalo Tom in 'Joy. Discovery. Invention'; the spirit of The Lemonheads' Evan Dando hangs lightly over parts of '27'; and true indie Yankophiles may care to hug themselves merrily at the news that 'Justboy' manages to rekindle memories of Lotion. By the frankly exhausting close (Biffy Clyro waste few of the 50-odd minutes at their disposal) we find the trio winding down and singing of how "You painted pictures with my tears" as 'Scary Mary' passes by like a fading taillight in the distance. This rocks, for sure, but in ways you may never have heard before.
Simon Williams
reviewed on 11 Mar 2002
Posted by Chris at 03:15 PM | Comments (0)
Blackened Sky Review - Aversion.com
Aversion.com
(5 out of 5)
If you listen to common wisdom – that of critics, most fans and the charts – the United Kingdom is no place for guitar players. It’s a land where Paul Oakenfold and Fat Boy Slim are national heroes, where prefabricated pop bands outnumber soccer teams, where wussified indie bands such as Belle and Sebastian and The Delgados are the envelope pushers. Heck, even the rock bands the Empire has imported, The Strokes, White Stripes and Hives, aren’t really shredders. No, loud, ear-splitting guitar is as foreign to the English as a good hook-and-ladder to a tight end.
Wait a minute! Guitar players haven’t been chased off the island by DJs and popsters – they’ve just kept a low profile, apparently. Biffy Clyro breaks out with a decidedly un-Anglo guitar noise that will put the old world back onto the rock’n’roll maps. Let’s count our blessings that the soulless dance brigade hasn’t killed off rock’s hold in the Old World. With loud, warm guitars that kick up the sort of impenetrable, though totally inviting, sort of noise that’s one part feedback-driven Hum and one part shoegazer-deep Slowdive, Blackened Sky brims with the sort of energy that’s all indie rock, grunge and powerful dynamics. Forget the mall-punk whine or the shrill sounds of garage rock. Biffy Clyro explodes with heavy arrangements that lack any of the crotch-rock stupidity usually associated with overworked amps, be it with fuzzed-out melodies that reek of ozone and sweat and scream for the return of raw rock ("The Go-Slow"), or with slow/fast dynamics that pick up on Seattle grunge and let the band’s overdriven choruses shine ("27").
Although the Scottish trio builds heavily on grunge foundations, it’s got the wits to keep itself from simply repeating history. While the roller-coaster dynamics of grunge are there, there’s no debt to metal (a longtime staple of the Northwest’s rock scene). Without the cock-rockin’ overtones to muddle things up, Blackened Sky takes the melodies of bands like Seafood and Coldplay and gives them some fangs.
- Matt Schild
Posted by Chris at 03:11 PM | Comments (0)
Blackened Sky Review - MusicOMH
From: Music OMH
Ten long years ago, Nirvana bestrode the musical globe like a plaid shirted collussus clutching a battered guitar. Although it was all to end tragically, with a bagful of heroin and a shotgun, Kurt Cobain may take some solace in death in the amount of bands that Nirvana inspired. The Pixies may have mixed loud guitars with pure pop sensibility beforehand, but it was Nirvana that broke into the mainstream and paved the way for a bunch of kids to pick up a guitar and form a band. Biffy Clyro are one of those bands.
The Scottish three-piece have been creating increasing ripples of excitement in the music press with singles such as Justboy and 27, and great things are expected of Blackened Sky. It's certainly not an unqualified success, but in parts it does go some way to justifying one claim that they're the "most exciting new band in Britain".
The Nirvana legacy hangs heavy over Blackened Sky, from the "quiet verse - loud chorus - quiet verse" template to some anguished screaming on the fantasically titled Kill The Old, Torture Their Young. Sometimes it works brilliantly, as on the opening Joy Discovery Invention, while other tracks are not as successful, such as the rather run of the mill Solution Devices.
There is no lead frontman in Biffy Clyro - all three band members share the vocal duties. All three vocals are pretty similar though, so there is no disjointed feel to the album.
Rather bizarrely, some people have compared the band to Blink 182 and the wave of 'nu-metal' acts from across the Atlantic. This does Biffy Clyro a huge disservice, as their songs are more musically adventerous than the likes of Limp Bizkit and Linkin Park could dream of. The aforementioned Kill The Old... for example is six minutes of pure adreanlised confusion from the angst-filled screams of "Open your eyes...turn your back and run from me" at the start, to the slowed down tempo and harmonies later on.
If there is a problem with this album however, it's that the band sometimes lose the balance between light and shade. It's all very well having some very dark tracks with lovelorn lyrics, such as the excellent single 57, but it would be nice to balance this occassionally. Possibly the standout track on the album is the infectious Justboy which brings to mind the best moments of Buffalo Tom. More tracks like this and the closing Scary Mary would have transformed this album from a good one into a great one.
You get the impression listening to this album that Biffy Clyro are a fantastic live act, but an exhausting band to listen to in your living room. There's no sign of any kind of breakthrough song here, such as Feeder produced with last year's Buck Rogers, but if you take the time to explore this Blackened Sky you'll find a few shining stars worth exploring.
- John Murphy
Posted by Chris at 02:57 PM | Comments (0)