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Live Reviews : Nile, The Faceless & Rome @ The Hifi, Brisbane 14/11/2013

By on November 15, 2013

Images: Amanda Brenchley
Words: Andrew Kapper

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Opening tonight’s proceedings is Gold Coast heavyweights Rome. Their sound is more or less the textbook definition of modern day death metal, boasting lengthy passages of tremolo picked guitar and blasting drums, often punctuated with punishing grooves and pseudo-breakdowns. With symphonic and industrial samples dotted between the songs, the five piece run a tight, air-free set, while Todd Hansen puts on an extreme metal drum masterclass up to the calibre of the headliners. A suitably furious way to begin the night.

Rome

Rome

Boasting a revamped line up since their last visit to Australia in 2009, The Faceless‘ more prog orientated metal is in stark contrast with Rome’s to the point heaviness, but the twists and turns of the opening 15 minute plus “Autotheist Movement” suite has the crowd gawking slack jawed at the precision musicianship at hand.

Having replaced absent bass player Evan Brewer’s parts with a backing track is a little off putting – especially during the solo bass run on “Xenochrist” – but that aside it’s impossible to do anything but praise the Californian’s all too brief set. With a fair chunk of their set coming off of 2012’s “Autotheism” album, older tunes like “An Autopsy” shows off a more extreme side to the band, while also highlighting how far the Faceless have progressed musically, with guitarist Michael Keene’s clean vocals far prominent on newer material. A full headlining performance would have been ideal, but a solid 40 minute slot is enough to keep the diehards happy.

The Faceless

The Faceless

Nile are without a doubt one of the most legendary bands in the extreme world, and after a recent string of underwhelming crowd sizes at other international metal shows in Brisbane, it’s pleasant to see a strong turnout at The Hi-Fi. With songs from every album being aired this evening, it doesn’t take long for the mosh to start churning after the intro chords to “Sacrifice Unto Sebek”.

At times the sheer intensity of the music is almost too much; as if the band are pulling the crowd into a punishing vortex of blastbeats and furiously picked Eastern-infused riffs. The live mix isn’t perfect, but for a band who’s main sound is a wall of marauding drums and wrist contorting guitar, it’s above decent, and a majority of the nuances and solos cut through adequately. As talented as the three other members of the band are, whom all contribute on the vocals front too, it’s the man behind the kit who commands this reviewer’s almost undivided attention.

Nile

Nile

George Kollias is a weapon on the drums, driving the songs along at a breakneck pace with countless rolling fills and tribal influenced tom work – hell, he even manages to throw in the odd stick trick when he’s not turning them into splinters. The entire set is basically a showcase for the Greek drummer, but it’s the almost endless fills during the middle section of “The Blessed Dead” that cements that Kollias is truly a master of his chosen instrument. For a band two decades deep into their career, it’s a nice sight to see how appreciative and positive frontmen Karl Sanders and Dallas Toler-Wade are for the rapturous audience response, and after a blistering set it’s clear that Nile are truly deserving of all the fanfare that is bestowed upon them.