Gravesend is a place that’s not known to many, and to those to whom it is known to there will be none too kind a word to be said about. So, it is a mystery to myself and many others as to why apocalyptic post-hardcore crew Exit Ten have decided to travel to one of its shittiest corners as one of the final legs of their UK tour.
The night starts out in a fashion that you’d expect, as sludge-groove metal band Unforseen Prophecy (**) take to the stage. Whilst their musicianship may impress occasionally (more specifically drummer Russ Edwards), they do grow tiresome and irritating very quickly. Perhaps with a different vocalist they COULD be better, though at this point it seems rather unlikely.
Up next are local youngsters Accidents (****) who return from their short hiatus to quite a reception. Their songs are hard hitting, and thanks to vocalist Marcus Reddick spending more time on the floor than he does on stage they quite literally opt for an in-your-face approach. Despite this being their first show back with new members, they have no problem powering through songs like ‘Alive’ and ‘Burial’. If metalcore is your game, you will not want to miss these guys.
The somewhat ‘local heroes’ of Silent Descent (***) are up next, and their trance metal seems to appeal to most of the people in the room which stays somewhat subdued throughout. Whilst the band never really succeed in living up to the hype that surrounds them, they do have some positive qualities such as an enigmatic front man in Tom Watling and a somewhat original sound. If it weren’t for the fact that that
Exit Ten (****) never fail to disappoint and this is no exception. Despite their somewhat uneasy and unfamiliar surroundings, they plough right through a set made up of both newer and older material. The newer material has more of a straight up rock feel to it whilst their older material is heavier and seemingly perfect for intimate, grubby shows such as this one. However, it’s not until a ferocious ‘Resume Ignore’ that they really set about destroying the place. Ryan Redman‘s vocals are pitch perfect throughout, but on ‘Technically Alive’ they don’t need to be as people surge to the front to scream every word back at him. It must be disheartening for the band to be playing such small and frankly shit venues, however, their professional performance doesn’t show any face of this.
Written by Oliver Thompson