Gig Review: Griever, As Everything Unfolds, Noija & Palmist @ The Black Heart

We were treated to a cocktail of British rock and metal with a Scandinavian twist as we went along to see Griever supported by As Everything Unfolds, Noija and Palmist at The Black Heart in Camden last Friday (26 April).

The evening got off to a good start as Palmist – who it took me a while to realise are a rebrand of Greyhaven, who we introduced you to just over a year ago – opened up. They came on stage to synthy noise then a big rocky opening that burst into big singalong vocals over a little high-pitched lick, then a fun guitar solo as the song built.

Vocalist Sam Paterson jumped into the front of the audience and began dancing around during a rocky opening to Too Little, Too Late then jumped into almost rapped/spoken vocals. A catchy chorus took over alongside cool “woh-oh” vocals before a little solo built up to a final chorus.

The next song opened up with a twinkling synth backing track then a laid-back verse over chugging guitars that built up to a big singalong chorus. And that was followed by A Way Out, which started slowly and built up to a catchy chorus then dropped into a verse in which Sam hit an impressive high note before again building up to a big chorus. Another fun solo from Alex Hills followed, then a big chorus before Sam finished with solo vocals. And that was followed by “a song about Tinder.”

They closed out with the impressive Wildfire, which began with high-pitched guitars and big drums then atmospheric vocals cutting over Sam’s vocals. He jumped into the crowd and delivered some rappy vocals before they brought it to an impressive ending with big bouncy guitars.

Next up was Swedish band Noija, who were playing their first ever gig on UK soil. They opened with synthy background noise then big bass and low-tuned guitar jumped in over the synth. Frontman Nick Serlstedt’s drawn-out vocals and built towards a bigger chorus.

Next was Find The Sound, which opened with big bass and synth before a light verse, then Nick jumped into the crowd to smash out bigger vocals over a booming bass and low-tuned guitar.Here At Last kept the heaviness going with a big intro dropping into light vocals through the verse, then a big chorus before ending on heavy vocals and instruments.

Next was Wanderer, the closing track to their debut album Colorblind, which opened up with synth and guitars feeding into high-pitched vocals over a drawn-out bassline. It suddenly burst into life, building up to screamed vocals then dropping into a big chorus.

They dropped the pace a little with Wallflower, which saw light guitars open up then high vocals over a drawn-out bassline. A cool atmospheric section then built up to more high-pitched vocals before big screams fed back into the high vocals over big driving guitars – it was very impressive.

Noija’s latest single Rebirth, released at the end of March, followed, with a singalong chorus then big screamed vocals giving way to a second chorus, before a chilled section gave way to a heavy ending.

They closed with Unknown, the opening track from their album. Low vocals opened up under a creepy synth sound, then a big cry of “I don’t wanna be saved” gave way to a big rock out, before light guitars built up to an impressive chorus. Guitarist Ludvig Ottosson came in on vocals with Nick answering with screams, then a guitar lick crept into the background before a big final chorus.

This was a great set from an exciting new Swedish band, and we had a chat with them before the show so we’ll be bringing you more from them shortly.

Our pals in As Everything Unfolds were up next, the High Wycombe sextet doing their level best to fill every inch of the small Black Heart stage. And they wasted no time in ramping up the noise levels as they burst into Golden, kicking off with a big smash of guitars then Charlie Rolfe’s lively vocals under a darting riff building up to huge cries of “Torn this world apart.”

They stuck with their debut EP as they jumped straight into Sleep Alone with its big opening guitar lick. Charlie’s vocals took over then the big singalong chorus “Cry yourself to sleep my dear” drop into chugging low-tuned guitars and doomy drums continued as the vocals intensified ahead of the second chorus, followed by huge screams over doomy drums and intense guitars.

Next was 17:10, the opening track to their latest EP Closure, which we reviewed here back in October. It began with a big synth intro then built up to a singalong chorus before Charlie’s huge low screams, and ended with Charlie’s impressive huge guttural screams.

We were then treated to two brand new songs that they’d never played live before. The first opened up with a big synthy, rocky intro then dropped into a chilled verse led by Charlie’s high-pitched vocals. It gradually built up to high vocals over guitar chords then even more impressive high vocals.

The second began with lurking instrumentals under Charlie’s vocals then burst into a rocky smash-up, before building up with low-tuned guitars under a big scream. The lights suddenly dropped out with vocals and drums building up to a chorus over a repeating synth and big guitars. Flashing lights kicked in alongside a little riff that gave way to huge screams and a final chorus. It sounded absolutely huge.

Next was Centuries, which opened with a little guitar lick then big doomy cymbals before a verse built up to intense screamed vocals. Huge choruses saw Charlie take a well-earned break by dropping to her knees during a big smash of guitars, then let out a huge scream before big doomy guitars closed up.

You Will Be followed, which was also massive, then the light flickering guitars that open up Divided. Charlie jumped down into the crowd screaming then back up to the stage for the big chorus.

Net up was Despondency which, based on the recording of their video for the track, Charlie warned people not to use confetti. Huge high vocals opened up then cries of “Don’t you… dare” dropped into a big smash of guitars. A chilled synth section followed then Charlie’s vocals built up to a heavy guitar and lingering synth outro.

They brought a superb set to a close with Bright Lights, which provided a fittingly heavy doomy ending. Synth opened up then a lively verse that ended with Charlie’s wild screams before flowing into the big singalong chorus. If you haven’t seen As Everything Unfolds live then you have to, and they were as fantastic as ever in Camden.

The evening was headlined by Bournemouth’s Griever, whose entrance began with the eerie looking drummer sitting alone on the stage (see below). Then a guy at the front of the crowd with a huge mohawk doing full-on stretches as if he was about to compete in a 100-metre race.

They made their mark as they opened up with a mass of booming guitars and doomy cymbals, then huge screamed vocals. That dropped into a singalong chorus that ended on a scream and huge drums – and the first impression was that the vocalist was incredible, jumping between big screams and clean choruses.

The beautifully titled Welcome To Hell opened up with huge drums and guitars, which got even heavier before giving way to big screams. The guitarist smashed out some huge licks under screamed vocals then big booming guitars kicked in under more big screams. Clean vocals took over in a singalong chorus, and it ended on big low guitars under a final chorus.

The lead singer disappeared off stage and, wisely, shed himself of his hoodie. They launched into She Is Death, which took the heaviness to whole new levels. It opened with a huge scream of “She is death” then big screamed vocals and the lead singer passed the microphone to a guy in the front row, who also smashed it. It dropped into doomy drums, a creepy little noise led into more screams, before a brief pause gave way to big low-tuned guitars and pounding drums.

A new song followed, which the vocalist said would be “our new favourite one,” and opened with high guitars then high vocals before wild screams dropped into spoken then clean vocals. Doomy drums came in and continued under a massive final chorus.

Their most recent single Sickness In Me, which we reviewed here last month, was next, opening with a big screamed verse then a singalong chorus of “I feel alive when I’m still sleeping, And I dream when I’m awake, Of a silence worth hearing, And a life that’s more than pain.” A huge breakdown with doomy drums under booming riffs brought it to a close.

Their final track was the superb A Whole Heart, which I firmly believe is one of the best metalcore songs out there. The lead singer asked for a circle pit, which was duly delivered until it dropped into the deliciously infectious chorus “I reach out into the darkness and try to find myself, This world’s so cold without you here, ‘Cos heaven needed angels and I know you’re perfect” over pounding rapid-fire bass drum. They got everyone clapping along before a couple of huge final blasts of the chorus.

By popular demand, they returned for one last song, with more huge doomy guitars and a singalong chorus bringing an awesome gig to an impressive ending.

Four great bands with varying styles saw the night gradually increase in heaviness and ended on a real high with the excellent, intense Griever.

You can follow Griever on FacebookInstagram and Twitter, and check out their music on SpotifyiTunes and YouTube. And follow As Everything Unfolds on FacebookInstagram and Twitter, and check out their music on BandcampSpotify and iTunes.

Follow Noija on Facebook, Instagram and Twitter, and give them a listen on Spotify and iTunes. And you can follow Palmist on Facebook, Instagram and Twitter, and check out their music on Spotify and iTunes.

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