[Gig Review] MY DYING BRIDE with MAMMON'S THRONE @ Northcote Theatre, Melb (AU) 17.09.25
Hey folks out there in reader land. (It’s a forlorn, neglected space these days).
News Flash! My Dying Bride made it to Australia after 35 years of indisputable and eclectic contributions to the doom scene. Albeit (and controversially) without their long time writer/vocalist Aaron Stainthorpe. A late but appropriate support was announced in Mammon's Throne and they certainly honoured their hosts. Stand out tracks were ‘Return Us To The Stars’ (which mesmerised us with orange laser beams landing at the crowds feet), ‘Weaver’ which was a death/doom-laden gut punch and the ultimate crowd pleaser ‘Nosferatu’.
Mammon’s Throne are top tier of the Melbourne Blackened/Funeral/Sludge/Doom band scene. (Yes, that's a sub, sub-genre. Or, as we like to call them here, 'an SSG'). (Maybe I should have thrown Melodic Death in there too. Heck, they are unique). Regardless of my pathetic and unnecessary effort to categorise them, Mammon’s Throne delivered once again on the big stage. When will one of these OS acts invite them to tour with them?
The world won't be quite ready for Mammon's Throne but we don’t want to keep them all to ourselves!
Mammon’s Throne - Links:
Link to 2023 self-titled LP - Full Album Stream (Youtube)
Bandcamp Profile (+ Album Orders)
My Dying Bride were peerless-sounding live. What a rich, doomy tapestry they wove as they thundered and mourned their way through 11 remarkable epic poems from the Moors of Yorkshire. The band sounded tight and enjoyed the adoration and admiration of the Melbourne crowd. But it must be said; Mikko Kotamäki, absolutely superb as a deeply respectful 'live' replacement for Stainthorpe. The growls and cleans were on point similar in emotive intensity to Stainthorpe's iconic sound as 'Lord Vampire'. Let’s face it though, nobody was going to replace Stainthorpe’s iconic vocals and theatrics on stage. Mikko's voice was strong and clear on the night, accompanied by some amazing layering of the guitars in the slow tempo segments and then heavy riffing. Bass and drums blasting out thunderous doom! Both played well in synchronicity, and the drums seemed so much more powerful and loud than recorded versions of the tracks. The blasts and strikes just filling out the space of the theatre.
Attendees were treated to 11 delectables from MDB’s 35 year career. The conundrum being, what gets played on the setlist? This was definitely influenced by the inclusion of Mikko and obviously what synergised well for the band, and what he was comfortable singing. Melbourne fans were treated to 2 tracks from the latest release: ‘The Second of Three Bells’ and ‘The Apocalyptist’.
Amidst icy blue lights and fog the band stepped out onto stage to the chiming of the bell tower. Head lowered and shrouded by her long black hair, Lena Abé punctuated the atmosphere with the dark brooding bass melody which intro’s ‘A Kiss to Remember’. The iconic guitar slide pulls the band into fusion, that muted riffing leading into the slower tempo bridge underpinning Craighan’s tortured lead and Shaun MacGowan’s lamenting violin, encapsulating the audience as the band drags us back down into the sinister heavy chords and Dan Mullin’s soul juddering rhythm on the drums.
Mikko walks out from stage left and steps up to the mic in a beanie and a trucker’s singlet and leads us into the pained verse. In such attire, Mikko looks like he’s already acclimatised to ‘Doom Under’. Holding arms apart and palms outstretched Mikko works the crowd into this beloved track.
Following the absorbing delivery of ‘A Kiss To Remember’ and the celebratory applause, the brief respite is met with Mikko’s greeting to the audience and the hauntingly familiar atmospheric melodic intro of ‘My Hope The Destroyer’ swirls around the auditorium. Haunting notes ascend from Shaun’s keyboard and the dirty, gritty riff drags and crashes over the audience, as drum rolls thunder out from the kit.
Such a wonderfully composed piece of infectious dark gothic metal. The crowd are up and about headbanging and mesmerised by the lilting chords and the hypnotic drumming and then the surge and drive of the guitars as that aggressive riff kicks in. Mikko’s voice is working wonders live. Turn away and you might just think for a moment that Stainthorpe is present. The band are certainly enjoying this number as Neil, Andrew and Lena are headbanging along with the chorus in gusto. The band unleashes pure heavy chaos, as the drifting keys collapse into power chords. A pulsating groove gets us all into foot tapping headbanging bliss.
Following some meet and greet dialogue from the band, MacGowan stirs up the keyboard with the soft sustained chord intro to ‘The Second of Three Bells’. Neil chiming in with echoing solemn open chords and Abé drifting over the bass fretboard in a sad contemplation. The guitar intro drifts throughout the theatre effortlessly, timelessly epic, until the monster is unleashed with this deep drawn out guitar riff like a hungry stalking monster. These deep heavy resonant chords and punchy drumming ring out and Mikko’s upper range is on display, entrancing and effective in Stainthorpe’s absence. Then that collapse into distorted aggressive death metal chopping is sublime live. Mikko growls and the monster that is My Dying Bride is rampaging.
With the gargantuan beast let off the leash, it was fitting to follow with the slow creeping anthem of ‘From Darkest Skies’. This was an emotionally charged delivery from the band and sounded so massive live compared to the original recorded version from ‘The Angel and The Dark River’. The mid section and outro of this song lumbering along crushingly heavy descending chords, accented with Vampiresque gothic organ. This was gothic horror at its best.
How do you follow such an unforgettably dark performance? Lights go down to spotlight Neil playing the instantly recognisable harmonic lead intro for ‘The Cry of Mankind’. The crowd (me included) let out a collective whoop! Dan rouses the drums with a fill on the high hats and Andrew stirs up the most sonically succulent feedback. Lena Abé deftly joined with the bass lick swaying back and forth as if in a zombie trance, many in the crowd picking up on the same vibe as the rhythm guitar and drums come pounding in. Mikko, back to the audience, turns, strides up to the mic and delivers a dirge in a deep melancholy tone. At the half way point of the show, this was a well delivered gem and I’m sure that more than a few were misty eyed, reminiscing back to its first release 30 years ago!
Throwing back the clock just that little bit more, discordant guitars launched the crowd into ‘The Snow in My Hand’. The interplay of the slow pulverising Doom and the up-tempo frenzied riffing was a tribute to the band's ability to manifest such lamentations over 30 years on.
Pink and blue lights up the stage, choral keys open up the expanse of the theatre and Mikko leads us into the familiar dirge of ‘Feel The Misery’. ‘The Music of neglect. The words always reject…Feeeeeel the misery…’ Whoah, the guitars, bass and drums hit like a sledge hammer! That military style drum pattern pronounced with the deep muted chords, so freaking loud and infectious in its delivery of despair and loss. Then a reprieve of that military patterned drum rolls, highlights of the crash and ride cymbals accenting the down beats, keys playing out a forlorn melody and guitars swirling from feedback to long sustained chords diving back into that heavy, screeching guitar passage. Andrew, Lena and Neil throw themselves with passion into the riffing, hair flowing back and forth like waves tossing a ship upon the rocks. The intensity and depth of emotion of the recorded version is even more impactful live.
Craighan’s guitar howls like the baying of a hell hound as he tremolo’s out the opening notes of ‘She is The Dark’, and we are plucked from our bereavement to a frightening terror. Drums and guitars come crashing in with that nasty aggressive galloping riff. Then we’re back to the tension as the guitars still to all but the howling lead. Mikko disconsolately wails out the verse and then we’re dragged back into the fury of the main stanza. This was sublime in its doominess. Drums were ringing out as the skins were pounded. Keys flying in ghostly unison, floating out above the driving riffs, akin to summoning a Vampire to a feeding frenzy. Mikko was growling out the lyrics to the delight of the crowd singing along. The chorus was an absolute ferocious cacophony. The band and fans alike headbanging along.
Could this aural assault possibly get any more insane? The band fast forwards to the present to entertain us with their latest intimidating offering; ‘The Apocalyptist’ - This track is an 11 minute heavyweight and was presented with MacGowan’s beautifully serene violin intro over the top of Craighan’s brooding open chords leading into the band throwing down a massive downward spiralling riff. Mikko is growling like an awakened ghoul. Watching on one gets the feeling Mikko could be a lot more animated in these tracks, and that raw emotion is exactly what you’re missing with the absence of Stainthorpe. The track winds its way through slow, violin accented verses, doomy and melodic until it collapses into heavy drawn out power chords and soaring keys. That opens up into a bridge of muted chugging riffs in major to minor chords with a fantastically memorable lead signature over the top from Craighan. Were dragged back into the omnipresent doom of the chorus with Mikko’s vampiric growls. The heavy deliberate bass notes and wistful lead melody, with crisp distortion leads us through the outro. ‘Your weapons are charged’! Sings Mikko.
The band wave, nod and leave to stage left. The crowd in anticipation for the encore thud the timber floor as it reverberates to chants of ‘We want more!’. The band emerge once more to the rapturous applause of the fans as Neil ramps up the opening chords to ‘The Raven and The Rose’ - So passionately played the intensity washing over the adulating crowd, entranced by the joy of seeing this long awaited spectacle of one of the UK's, indeed one of the world’s premiere and most influential doom bands. Band members drop the Doomy visage as they smile back at the crowd as they serve up the final monstrous riffs of the evening. A poignant moment of shared appreciation after 35 years settles on all present as McGowans sorrowful piano solo rings out before the band play out the classic outro.
Relieved and satisfied, the band pose at stage front for photos as a sea of devil horns are raised in tribute behind them before a long sustained applause sees them on their way. Hopefully this remarkable event won’t be remembered as a one off for Melbourne.
As I left the theatre and crossed High Street a bloke unchained his push bike and enquired who was playing. I don’t think he even knew what Gothic Doom meant let alone ‘My Dying Bride’ or our local lads ‘Mammon’s Throne’. But that’s the dark beauty of this scene. Bands like this don’t just pop up, they are exceptions beyond the norm. My Dying Bride doesn't just write songs, they write timeless stories in music that ebb and flow with raw emotions. Like the sagas they write, this was just a small chapter in their own ebb and flow. The chapter without Stainthorpe that we were each privileged to gain a glimpse into.
My Dying Bride - Links:
Official Website:
https://mydyingbride.net/history/
Facebook:
https://www.facebook.com/mydyingbrideofficial
Instagram:
www.instagram.com/mydyingbrideofficial