Leeds Carling Weekend

review by Ruth and Jon

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Friday:

[J] The day starts off well, with the melodic Eastern-tinged metal of Boy Hits Car on the main stage. There's only a small crowd for the band, but nonetheless it's a hardcore bunch of fans, making the show highly enjoyable. Vocalist CRegg is as explorative as ever, climbing the scaffolding holding up the stage and jumping from the stage straight into the audience, which when you consider the 20-odd foot gap is a hell of an achievement. The songs are also just the thing to brighten up a rainy Friday mid-day, with tunes like "As I Watch The Sun Fuck The Ocean" making it seem almost sunny.

[R] Biffy Clyro look set to be one of the bands to watch for in the coming year, as they lure the waiting masses into a false sence of security with the tender 'Hope For An Angel' then crashing into it's tonsil grating finale; a total microcosm of the way the audience react as the show goes on. Next up is (hed) planet earth (3/5). This band keep getting better and better with each viewing, and this time they're on fire. Frontman Jahred is as explosive as ever, especially on tunes like "Killing Time" and "Swandive".

Unfortunately we couldn't stick around as strains of Cerebra were already creeping out of the Evening Session tent. Hundred Reasons are Einsteins in a genre seen from the outside to be characterised by dumb-ass kids... precisely because they don't seem to fit in any genre at all. Post-emo, post-metal, post-rock alternative - fuck it. It's just good. Crunching basslines, reflex guitar surmounted with gorgeous vocal melody like a fried egg chilli chutney sandwich. Lord knows it shouldn't work. But very little feels as right. Whether you're talking about the killer riff from Remmus from the recent EP2 or glorious romantic newey 'I Will Find You', it kicks like a 10 pound baby.

We return to the main stage to find a rather soggy Fear Factory (4/5) battling against that age-old festival problem of shite sound. A few songs in, however, and they're winning the war, and by the time they close with "Replica" they're victorious. The set's mostly comprised of material from new album "Digimortal" with old favourites like "Edgecrusher", "Shock" and the aforementioned "Replica" thrown in, pleasing the battalion of fans down the front.

We stick around the Evening Session stage for Midget faves Seafood (see 'Featured' for our interview with David Line and the rest of the band), and it seems they're still determined that they're not giving up on destroying their reputation as a wimpy indie band. David Line most of is trying his best to counter it, screaming his guts out and settling in for the long haul. And it seems to be working - there's more than a warm response for Splinter, and Cloaking gets some people bouncing, but there's still some work to do yet.

We catch System Of A Down on our way to the Carling Tent. I've never been quite able to totally sum up System, their combination of eastern european folk with twinges of classical all mixed up with metallic riffs and bass so grinding it could be pumped into diamond mines to save labour, but I think I've finally got it. System Of A Down were fucking weird. And utterly, utterly entrancing.

Electralane on the other hand were a little more difficult to make out. Four girl shouty pop may be the throwaway definition, but this ain't any Steve Lamacq fantasy. They're more like snorting coke off rusty iron girders. There's an intense rush, a non saccharine sweetness, but you ultimately run the risk of it leaving a bad taste in your mouth. And I'm not quite sure it's hygenic anyhow.

Grand Theft Audio meanwhile have rammed the tent with their combination of rock'n'roll with samples and stuff. A triumphant version of 'Good As it Gets' closes our viewing with Jay duetting with the iconic Kitty lending her full-lipped vocals to Chris 'God' McCormack's classic guitar teasing. If the man is as good with the women as he is with a guitar...

[J] Next up is the rather packed Evening Session tent, where Alien Ant Farm are due onstage. In fact, AAF should be on the main stage, the amount of people that are crammed into the tent - it's positively dangerous. By the time the band come onstage about half the crowd is outside the tent, there's so many. The material drawn from their debut album "ANThology" is good, though it has to be said that the biggest cheers are reserved for the last two songs, "Movies" and "Smooth Criminal". Still, pretty good. The same, however, can't really be said for Staind. Their new album "Break The Cycle" is a fantastic piece of work, though it seems the band can't cut it live. The tunes are mostly taken from the new album, with a few oldies like "Mudshovel" chucked in, though there's unfortunately very few highlights. Best song is new single "It's Been Awhile", which gets lighters in the air, yet surprisingly "Outside" isn't aired.

[R]Unfortuntely the girls and I couldn't squeeze in at all for Alien Ant Farm or Staind, so we have to make do with Gloss. It really wouldn't be fair for me to slate them again, seeing as I've already slated them this issue in my review of their support slot with Soulwax, so I'll just mention that their name is rather appropriate. There's nothing of substance here.

The Cult meanwhile seem to be vying for 'Best Spinal Tap Impression' this festival. Determined to hype up their position as only British band on the main stage today, they merely end up showing us why they're the only British band on the main stage. Those comments about Bradford being the home of British metal and this being a homecoming for Marilyn Manson just made me cringe. And I haven't even started on the music...

Godhead were one of the few surprises of the festival. Their cover of 'Eleanor Rigby' turned out not be the travesty I was promised, and despite a couple of moments of over-the-top messianic posing, their dark blend of metal plunged and soared. Definitely worth a closer look.

On the other hand I felt sorry for Queens Of The Stone Age. While the pit bounced for hits like 'Lost Art Of Keeping A Secret' and 'Feelgood Hit Of The Summer', it was patently clear that a lot of people hadn't even touched on the hidden gems of 'Rated R', like 'Monster In Your Parasol'. And the number of people who recognised a guest appearance from Mark Lanegan could have been counted on one hand.

Papa Roach are still vying with Limp Bizkit for 'Most Accessible Band For Trendies Wishing To Mosh' 2000/2001, but at least Mr Dick has issues with more than just Christine Aguilera. It's still cliché but rocking pop fun. But lets face it - which one would you rather your kid brother was listening to?

Cat Power on the other hand, is less worried about coming for your children, but going for precisely the urges that were responsible for their conception. Long hair down over her face, hardly pausing between songs for a brief tune-up before she moves on, Cat Power strums lulling acoustic tunes which entrance your ears and provide a subtle acompaniment to her voice. A voice that sounds like a lover running their hand down your spine and slowly kissing the back of your neck, a voice which makes your mouth water and your crotch groan.

And if that was the foreplay, then get ready because here comes the God Of Fuck. Surprise hit of the day number two, whatever you think of the man's music, it's clear that Marilyn Manson oozes charisma like most people sweat. In a steam room. In a stage set which encompasses a cross made of guns, puppet-like political satire, and the best use of glowsticks I have ever seen, the combination of music that runs through every sinew of a charged crowd with the onstage stage antics was practically orgasmic. I could have shagged the man right then and there. Marilyn Manson - a clear winner of best show of the day. By a clear, ooh, ninety feet?

Sad to say that the rest of the evening was a come down. Disapointingly Stephen Malkmus only half managed to fill the Evening Session tent. Disappointingly because such tunes as 'Phantasies' really deserve more respect, with it's twee little chorus melody and bouncy tunes. Everyone should have really been in the Evening Session Tent instead of waiting outside for Eminem. [R] Winning the prize for 'Biggest Letdown of 2001', stripped of his chainsaw and full stage set, all that Eminem's set consisted of was him walking backwards and forwards along the stage in different coloured tracksuits. In fact the effort he really made was some cartoon (done before) and a pair of inflatable middle fingers (Marshall, you are not The Beastie Boys. Stop trying to be.). And without the stage show to entertain those at the back, and only the odd decent song in a two hour period, my attention was lost rather quickly. Tonight Matthew, Eminem is the Great White Over-Hype.

So all that remained was a quick trip to see Mercury Rev before the close of the night's procedings. Like the aural equivalent of Tim Burton's nursery rhymes, it's too easy to see the twee surface, harder to see it's darker undertones, and even more difficult to grasp the twisted humour. A band that demands concentration is a difficult thing for any casual observer to stomach, but a little love is easily exchanged over such heartstring twisting little vignettes as 'Tonight It Shows', a perfect lullaby to tenderly end a brutal day.

ON TO SATURDAY....