Live review from Planetrox China Final 2019
Beneath the Truth
Game of Throne
Such a Liar
When Wreckage of Progress take to the stage, I can’t tell whether the mask one of the guys is wearing is a rather unimaginative Slipknot tribute or whether he’s actually got a bit of a cold. Anyway, combined with their batwing-shaped guitars, I’d bet my immortal soul Slipknot has been a factor one way or another. But these thoughts are dispelled when they kick off with their impressive screamo-inspired set with Beneath the Truth, which is big and melodic, featuring a super catchy mid-8. Good start I though – but the singer seemed dissatisfied with the audience’s level of participation, however, urging us to get “fuc*ing crazy”. To be honest, I was too preoccupied enjoying their set, which was pretty awesome. The energy, great singing and playing, blue guitars, red hair, double-time metal rhythms and synchronised head-banging – what’s not to like? Also a shout out to the sound guys at this stage – they really did a great job in controlling and presenting the best possible mix, never an easy task with this much noise and distortion going on. Announcing the third track, Game of Throne the singer declared, “you’re a shit audience!” – rarely a good strategy for winning judges over. Anyway, all is forgiven for next song Lost, and final track Such a Liar, a huge and bombastic way to go out, in which I can hear Sabbath, Linkin Park and other good stuff of that ilk. Very tight, very melodic, total commitment – Lauren, you missed out! These guys deserve Donnington.
– Dan Creffield
Live review from Heavy #21
1.Beneath The Truth
3.Game Of Throne
5.Such a liar
Wreckage of Progress一進場便進入狂野狀態，整個樂隊很快就合拍地一齊瘋狂FING頭，勁有味道，而主音在唱歌之餘不忘Stage Dive，甚至去到聽眾群裡一邊唱一邊跑，顯然將聽眾正式帶入重金屬世界，是令重金屬樂迷最爽的一隊。樂隊的歌曲風格較一致，均是過癮、充滿力量的經典重金屬風格，但亦因此沒有哪首較為突出，歌曲Game of Throne算是擁有較亮眼的旋律，而Such A Liar則在經典過癮的重金屬風格中帶有一絲哀怨的特色。歌曲段落之間的反差亦不太明顯，可以嘗試加強反差味道。
“Tonight, you are all going to die.”
A pre-recorded electronic voice utters these simple words as six black-clad men take the stage one by one. Punctuated by vivid red lighting and a space-synth backing track, this theatrical procession oozes a brooding, nu-gothic aesthetic.
Think Matrix 2019, but with guitars.
Straight from opening track Beneath The Truth, Wreckage of Progress grab you by the throat and demand your attention. Heavy, drum-driven tracks are paired with keyboard synth to pack a defiant punch not dissimilar to the sound of electro-metallers Underøath.
Explosively energetic frontman Billy executes those fry screams to perfection, the deliciously demonic, guttural growls echoing an early Olli Sykes as he makes full use of his stage space as well as that of the audience.
Not only does he enjoy weaving through them mid-song, but Billy has another unique method of engaging his audience: actively heckling them.
The peroxide blonde embodiment of mischief, he repeatedly spits profanity at a baying crowd, taunting them from his perch atop a stage amp to “buy our f*cking EP from the f*cking flashlight corner [where the merch table is].”
The more he insults them, the more the audience cheers in delight.
The show is not without its (modest) share of wobbles. I would have loved to hear more from the keyboardist, SHIF, whose input I found added a compelling cross-media texture upon which I focused at first blush. The clean vocal choruses, whilst featuring catchy melodies, were almost drowned out by the instruments. Perhaps the breath behind them was a touch shallow, resulting in less power and projection.
However, when it comes to showmanship, passion, and technical cohesion, it really can’t get much better. This is a band which clearly loves what they do. Maybe it’s the beaming smiles briefly flashed between the members. Maybe it’s the perfectly synchronized headbanging during anthemic track Reflection. Maybe it’s how seamlessly the rhythm guitarist saved himself from a potentially serious fall and managed to correct the offending shaky amplifier before Billy came bounding back up onstage.
Whatever Wreckage of Progress’s secret ingredient is, the result is an electrifying concoction of cleverly layered synth metalcore, performed with such fiery intensity that you struggle to decide where to look.
I nearly forgot I was in the red light district.
– Jasmine Gould-Wilson