Aaron Stainthorpe hasn’t thought this through. Its about a million degrees as High Parasite take the stage and he’s in full suit and tie. Maybe he’s dressed up in his Sunday best because he’s not doing the day job.
This bunch, like the main thing have loads of great songs, however. “Parasite” is full of energy and skill, then More goth and heavier “Concentric Circles” and if “Grave Intentions” sees Stainthorpe sing with his trademark growl, thrm My Dying Bride this is not.
Indeed, “Widowmaker” changes the vibe again. Electronic a little like PL era “Host” till it bursts with something barren and nasty.
“Cold” – somewhat ironic – is the new single (“we’ll be releasing it whenever the record single can pull their finger out” spits Stainthorpe is a brilliant example of their dynamics.
There’s a pulsing electronic beat to “We Break, We Die” and “Wasn’t Human” was a single they released (“making the video was horrendously boring”) and it does have a hell of a hook.
They all do actually. “Hate Springs Eternal” has a real melody as bassist Tombs sings the harmonies.
But HP are heavy. Make no mistake. “Let It Fall” is one of many to be built on the guitar of Johnny Hunter and Sam Hill, and if there’s a menace to “Forever We Burn” this was never meant to be hospitable.
“We’re gonna have 10 minutes arguing about about what we did wrong now,” jokes Stainthorpe at its end. If we’re honest, not a lot. High Parasite only played their first show in September and they’re going places.
In the changeover, there’s a string of ’80s classics—from the Scorpions to Bon Jovi and the Leps—and that’s before “Subdivisions” from Geddy and the boys welcomes Unto Others to the stage.
And you know what? There’s a little bit of glam rock in the Unto Others goth mix. Fists go up for “Butterfly”, which lands somewhere between The Cult and H.I.M., and when “Mama Likes the Door Closed” hits, there’s a touch of punk in the air.
Songs come and go in a flash. “Nightfall” has real energy, “Fame” from the new record keeps the pace, and “Jackie” has enough lip curl to make Billy Idol jealous.
The Portland mob are unlikely-looking rock stars, but Gabriel Franco—shades on—is a magnetic frontman, working brilliantly with guitarist Sebastian Silva (they’ve been together since 2017, back when the band were still called Idle Hands).
“Double Negative” goes back to that debut Hands record and it’s heavy, while “Suicide Today” gives the impression that Sisters of Mercy don’t have that space all to themselves after all.
They’re clearly one of those bands their audience is fully invested in, and “Raigeki”, from last year’s collection, has already slotted in perfectly.
Speaking of fitting in: before they play “It Doesn’t Really Matter”, Franco recalls that the last time they played the Second City, it was with Carcass. That might seem an incongruous pairing, but Unto Others are a band who somehow just belong.
Arena rock? Yeah, they’ve got that nailed with “Can You Hear the Rain”. Fancy a bit of heavy? Here’s “Heroin”—and Volbeat sell millions doing this stuff, trust me.
“When Will God’s Work Be Done” slows things down slightly, but the despair is palpable. Drummer Colin Vranizan thunders at his kit as if summoning the apocalypse, even on the more mellifluous “Time Goes On”.
“Flatline” belies its name by sounding more like a heart attack, and if you’re going to blast through 21 songs in 75 minutes, you’re kind of obliged to channel The Ramones—”Pet Sematary” does the job and gives bassist Brandon Hill his moment in the spotlight.
“Give Me to the Night” is all about Silva and his lightning-fast riffs.
“Dragon, Why Don’t You Cry?” takes them back to the early days and into the encore.
Somehow, “Blade and the Will” feels even more energised—which takes some doing—and the fact they cover The Misfits’ “Halloween” should surprise no one given the obvious synergy. That’s before oldie (in the context of the band, anyway) “Cosmic Overdrive” ends the sugar rush.
They’re one of those bands who sound a bit like everyone but exactly like no one all at once. Unto Others are a mighty proposition. And just to underline their chameleon-like tendencies, they’re completing their UK run opening for King Diamond and Paradise Lost. Those two bands—important as they are—will have their work cut out following Unto Others.
