Live Review : Alcest + Svalbard + Doodseskader @ Academy 2, Manchester on December 12th 2024

And here we are, yet another intriguing package tour bringing together three bands that exist within this genre but are doing decidedly different and inventive things within its conventions. Alcest, Svalbard and Doodseskader all distinctly exist within our world, but all feel duty-bound to stretch and contort its conservative confines. The former act as headliner for this jaunt, and even though they last dropped anchor in this very room just over 12 months ago, this distinctly unconventional cavalcade draws a mighty impressive crowd for a Wednesday night this close to Christmas.

Doodseskader are distinctly odd and that is meant very much as a compliment. Hailing from Belgium, this duo brings together Tim De Gielter, Bassist of impressive sonic sculptors Amenra with composer, auteur and drummer Sigfried Burroughs. What is initially striking about Doodseskader is that they make no effort to replace or compensate for the lack of guitar. Tim instead uses his bass to weave a dark and textured tapestry that is claustrophobic and cloistered. The music is dank, dark and distressing. But by the very nature of being that, it also manages to be highly passionate, emotive and triggering.

Using only two instruments they intricately cultivate an impenetrable and oscillating wall of sound, that speaks to your current emotional state. It is a fascinating blanket of fluctuating tempo that surrounds the listener. The fact that they summon forth so many layers with so little input, is just mind-boggling. It is very obvious that Tim is using this outfit as a cathartic outlet. He talks honestly about how the chemistry with and the reaction from the audience is lifting his mood. It is stunningly stark, but also sumptuously deep and the visual on the blanket behind them (the only light that they are afforded) adds to that feeling of stifling oppression. Breathtakingly austere but also emotionally cleansing,  this is difficult music used as a soothing therapeutic aid.

Svalbard also use their music as a canvas on which to talk about difficult subjects. With a smile on her lips, Serana Cherry playfully introduces’s final track, ‘Faking It’ as being “yet another one about depression”. Whilst stated in an irreverent and humour-full manner, it illustrates the skilful juxtaposition that is at the heart of Svalbard. They are a metal band skilfully challenging the emotional repression that lies at the heart of metal. A resolutely private person, Serana uses her music as a proxy to be open about her insecurities, inhibitions, and state of mind. Watching Svalbard is like being a voyeur at a private counselling session but put to music.

The other beauty about Svalbard is the fragility at the heart of what, to the uninitiated, may seem to be a brittle and corrosive sound. The gods of monitor mixing don't look kindly on them for the first track and the intricacies of ‘Eternal Spirit’ are lost in a deluge of dirge. Thankfully, levels and balance are achieved as they kick into ‘Disparity’ from their debut album. Suddenly it all clicks into place and you can obviously see the stunning mix of styles that they operate at the nexus of. Serena and Liam both bark out their vocals in an intimidating and abrasive fashion. But underneath that lies channels of sumptuous and decidedly melodic musical excellence.

Serena talked fondly of Manchester being a massive staging post in her musical journey, as it was a Slipknot arena show here decades back, that spurred her on to be a musician. She dedicates ‘Defiance’ to those who continually strive for their dreams and seems continually taken back by the love and adoration cascade from those standing in front. It is that emotive and passionate heart that makes Svalbard such an astonishing live proposition. Nothing is left in the chamber and every inch of themselves is poured out onto the stage.

They also have become an incredibly tight unit, telepathically knowing when to increase and ease the tempo. Serena jests about keeping stum about somebody's important birthday and that they aren't going to make a thing about it (even asking for a minute of silence for ageing), for then Liam to self-destruct the whole thing by outing drummer Mark Lily as the birthday boy. It is trivial but it completely illustrates what a close and harmonious unit they have become and how they wear their heart very much on their sleeves. This is metal with all the toxicity and bullshit bravado removed. This is not metal as a tool for escapism, this is metal used as a conduit in which to deliver your true self. Genuine, affecting and utterly devastating, there is just nobody quite like Svalbard.

In this sea of uniqueness, Alcest still manage to be highly innovative and astonishingly individualistic. They may purport to build from black metal but actually they departed that genre decades ago. Where they now reside is somewhere ostensibly beyond the realms of any real definition. It's metal but it’s a beautiful, contoured and elegantly polished form of metal that has benched all the usual angst, aggression and nihilism. Instead, we are left with an expansive and euphoric sound that is big and bold but also brimming with pure emotion. The pathos drips from every track and the tenderness and flagrant vulnerability is there for everyone to witness.

For a venue as closeted as Academy 2, they manage to set up quite a superb staging. They play within a physical manifestation of their current album cover, with Golden birds roosting behind them and an illuminated moon high in the sky. The opulence of the setting just adds to the rich indulging lavishness of the music. It is a sumptuous feast of soaring guitar and intricate passages. Every note sings, every note is full of abundant prosperity, rich in portent and emotional resonation. As the songs build, they enrapt the listener and carrying them forward as they get lost in the creativity and the elaborate bountiful splendour.

Alcest has long become the creative foil of lead vocalist and guitarist Neige (Stéphane Hugues Norbert Paut to his gran), the other musicians acting as intricate but purely functional components. Tonight, everybody plays their part, deftly and skilfully constructing towering monoliths of sparkling sound. It comes across as very orchestrated, with each member inhabiting their designated position, tethered to their specific role. However, what it may lose in spontaneity it absolutely gains in technical proficiency and emotional girth. It is like watching four skilled craftsmen go about their trade, weaving the individual parts of what inexplicably makes a collective whole.

Neige acknowledges the fact that they have been in this very room several times before. If we are truly honest, beyond replacing the complete run-through of “Écailles de lune” with a showcase for the new album, the setlist does not deviate much from what we got last year. ‘Autre Temps’, ‘Oiseaux de Proie’ and ‘Souvenirs d'un Autre Monde’ may well be exquisite tracks, but with song length truncating set list availability, it feels slightly remiss not to swap them out for other songs on their parent records. But if the audience was disgruntled by set similarities, then they don't make this known. Neige looks to be genuinely overcome by the reception that each track elicits and the five new songs are greeted as old friends and sung back to the band with gusto.

The time ebbs away in a heartbeat and before we know it we are in the encore. For all our cries of setlist stagnation, they do elect to end with a fitting new track. For those who failed GCSE French, ‘L’adieu’ translates as farewell and it provides a bittersweet conclusion with Neige slowly but surely being left by himself stage right as the song courses to a conclusion. It is a simple but stunningly poignant finale and just sticks a veritable cherry on top of an astonishingly moving and passionate evening. Alcest transcends normality and the grey dreary drudge of humdrum existence. They paint Technicolor kaleidoscopic murals of sound. They sweep you away with effortless splendour. By the power of music, for 90 minutes we were collectively transported beyond our humble existence, an absolute experience to savour.

Check the “In The Flesh” page for more photos!
Alcest + Svalbard + Doodseskader