Posted by David Brookmyre.
Reviewed on 14th January 2010.
Live at Cockpit on Saturday, 12th December 2009
The band give enormous energy into their performance from the outset. With minimal effects and gimmicks their audience is immediately forced into a unilateral gravitational pull. The music is magnetic in that each song shows carved transitions from riff to riff. The pulsating sound is thrust upon you causing even the most conservative listener to party.
Compromising of frontman Callum on Guitar/Vocals, Tom on Lead Guitar, Jamie on Bass, Ben holding the fort on Drums the band oozes energy and an unquenchable drive to mosh. The vocal lines hold rhythmic signatures on top of an organic unit. The band have a look of togetherness and shared belief. The songs have a tendency not to keep a regularly time signature. Instead they flow through mellifluous changes peaking and falling together. These is a human energy coming from these sub human boneyard dwellers. They're a collective. A group of young rockers with a common goal. A real emotion comes from them which is commendable given their youthfulness and that the band only reformed in 2008. They hit 100% and keep it there dropping only occasionally.
The Boneyard Babies have been performing intensely over the later end of 2009. Obviously, the fruits of their labour are now being harvested. Their audience participates from the get go and follows them on a journey through songs like "Voices of Mine" rapid riffs turning into harmonic riffs. Then an upturn with the vocals bounding up to the door to let you in. The lyrics come at with you with such ferocious speed that they're sometimes lost. Then, a deep breath for a chant that might be heard on the terraces on a Saturday afternoon.
These babies don't tread the boards, they pound them. They fight for the right.
The song "Rave in the Grave" offers guitar trills and harmonic minors. The drums hit you with rabid rolls and menacing cymbals. The sound could be described as being fresh out of the oven on gas mark 10. Another track, "Dancing with Death" has muted fuzziness and aching vocals that give an all round fierce backdrop.
The band does have dynamic falls and climbs. These are very effective. "Twisted Games" is a prime example. It has a more mature chord progression and ambitious structure including an impressive guitar solo section dropping to a melodic jazz blues voicing.
The rhythm section is solid and utilized to open up more directions, allowing the guitar section to loosely riff and solo on top.
Overall an accomplished performance with good feedback from the audience.