![]() ![]() “Trust no one” and then the epic “Death to the Holy”, its lyrics leaving no Illusions as to what inspires these songs. 2022 single “Run” is quickly followed by 2018’s “We can’t be found”, the songs punctuated by Gagneux’s easy chat with the crowd. These gospel-like songs are made to be sung by a crowd and the show is absolutely full of them. ![]() ![]() Zeal and Ardor draw tracks from their entire back catalogue of three albums and one EP and all are gratefully received by the audience. Gagneux is a surprisingly cheerful frontman, easily conversing with the crowd in between songs, and the performance isn’t dimmed by them being two members down. Despite being down two members due to illness (backing vocalists Dennis Wagner and Mark Obrist) the sound is immense and overpowering. Bringing the vibe lower (but not to a deficit!) They reel off “Ship on Fire”, “Row” and “Gravediggers Chant”, perfectly showcasing their multiple influences in a few short songs. Opening with the anthemic “Church Burns”, and then immediately into their heaviest, most aggressive song “Gotterdammerung”, the crowd are a heaving, sweaty mess in moments. Can a band singing about the virtues of Satan still play gigs that feel like religious experiences? Judging by the crowd’s reaction, absolutely! The brainchild of Swiss-American musician Manuel Gagneux who described Zeal and Ardor as “what if American slaves had embraced Satan instead of Jesus?” And the mix of black metal riffs, with gospel-like vocals, sprinklings of Soul Jazz and delta blues is a lovely one. I discovered them in 2020 when they released their single “Cleansed Existence” and, after binging their new EP “Profound Morality” over the course of the past few weeks, I knew they would be a great opener for Zeal and Ardor, and I wasn’t wrong! Fast, but sludgy, atmospheric, and with the occasional industrial vibe, Heriot filled the stage with their crushing heaviness and grooves, bassist and vocalist Jake Packer’s deep growls complimenting the manic shrieks of guitarist Debbie Garth perfectly, a happy crowd made their approval clear, and Heriot leave Manchester with plenty of new fans. Last seen earlier this year supporting Meshuggah, Zeal and Ardor fans have long awaited a headline tour from this, initially at least, one-man band.įirst up, Birmingham/Swindon four-piece, Heriot, were a support act I was particularly looking forward to. And the ability to create folders and assign colors to audio clips and sequences within the clip sidebar makes it easy to keep track of and distinguish different elements of my live performance.It’s a surprisingly balmy evening in Manchester, despite it being November, and there is a definite air of excitement in the air for the performance of a band who have, in my opinion, released the best album of 2022. I really appreciate being able to quickly and easily access and trigger audio clips and sequences during a live performance by simply clicking on them in the clip sidebar. ![]() It's a dedicated panel that displays all the audio clips and sequences I've imported or created in a project, along with information about their length, color, and location within the project. Additionally, I have found the clip sidebar feature to be incredibly useful. The cue function is also great for triggering automation events like changes in volume, panning, or effects processing by creating automation curves for specific tracks or busses. Setting up audio clips and sequences is straightforward - I can import audio files or create MIDI sequences within the program and then arrange them on specific tracks or busses. It allows me to set up and trigger audio clips and sequences on the fly, without interrupting the flow of the performance. I recently started using Ardour for live performances and have been really impressed with the cue function. ![]()
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