Crossfaith, Manchester Academy 2, 17/10/18
Since 2006, Crossfaith have led the way for Japanese electronic metal (or electronicore), not that they’ve had much competition. However, the exclusivity that seemingly would come from such an amalgamation of unique, niche styles of music, actually has had an obverse effect. In fact, in one of his closing monologues, lead singer Kenta Koie added that the crowd has grown in size since the last time they played in the Manchester Academy 2. Since then, however, the band have released 2 albums and seem a more exciting prospect to headline.
Opening the night were GroundCulture, who produced a set orchestrated by lead singer Roy Watson and, full of energy, he would not stand still all set. With drummer Andy Lonsdale stealing the show, the bass drum and cymbal combo built up the perfect amount of anticipation before the drop which complimented their sound well. The Newcastle five piece ended on a high, playing through their singles, ‘Confessions’ and ‘Sculptures’.
Blood Youth then displayed their ambition from the start, by both asking (and receiving) a circle pit within the first 30 seconds of their opening song. Fortunately, this was the same continued energy throughout. The allotted slot was just enough time for the Yorkshire quartet to explore a plethora of different genres, from the Korn-esque nu-metal riffs of ‘Starve’ to the melodical, upbeat tunes of ‘Reason To Stay’. The band left representory of what seemed to be their carefree attitude, with vocalist Kaya Tarsus topless and crowd surfing.
“It’s been years, but we’re back” exclaims Crossfaith vocalist Kenta Koie. This happened to be the first of a series of mid-song monologues; seconds after the intro of their latest album ‘EX_MACHINA’ welcomed them onstage, and seconds before its follow up song ‘Catastrophe’ got the crowd moving. The first two songs off their new album are exemplary of the evolution that Crossfaith have embarked on over the past couple of years, with their in-your-face attitude only growing in confidence. The result of which is with each member on stage enticing the audience to share their same enthusiasm.
‘Destroy’ had turntablist Terufumi leap from behind his set-up to join Kenta on the front of the stage, both complementing each others unclean vocals. In between playing through their new material, Crossfaith then bounced around some of their better known songs such as ‘Monolith’ before upping the crowd participation. Their cover of The Prodigy’s ‘Omen’, had everybody get on the ground so they could jump at the drop, and ‘Jagerbomb’ had Kenta insisting the crowd run around the central soundstage from which they obliged, more than willingly.
It’s incredibly hard to describe what a Crossfaith concert is actually like, because it’s more of an experience. From the lighting which matched every beat, to the stage personas of each member playing effortlessly off each other; there is no true ‘frontman’ in the band. Each member can be highlighted at being exceptional in their own way and, in an almost Slipknot-resemblant way, you could look at any section of the stage and be entertained- as well as it being impressive as a whole. It’s hard not to get enthused by them, and in the past few years they seem to be going from strength to strength not only in their setlist material, but through their ability to control a crowd. It leaves you with an exciting thought of what they may be capable of given a bigger crowd and venue.
