“You know what’s a funny feeling? Knowing that, before you go onstage, you’re going to remember the gig that you are about to play forever.”
These where the words of Opeth front man Mikael Akerfeldt in his first exchange to the sold-out Sydney Opera House crowd at the band’s landmark “Evening of Sorcery” show on Monday night. Truer words have never been spoken. The prospect of seeing the progressive metal legends at such an esteemed venue was exciting enough. The fact that the band were showcasing material from their 2002 companion albums, the dark death metal of Deliverance and the heartbreaking musings of Damnation, made it an absolute must-see. It was a show that even the band themselves had admitted was set to “blow their minds.”
There is no finer venue to play in Australia than the Sydney Opera House. From The Sydney Symphony Orchestra, London Philharmonic and Opera Australia to Tame Impala, Bon Iver, Hiatus Kaiyote and Deafheaven, the venue has increasingly become a hub for the eclectic – now considered ‘high art’ alongside the ballet or a symphony. However, the prospect of blast-beats, death growls and jazz fusion jams was completely uncharted territory for the venues coveted concert hall stage, and the prospect of such a special show in such an esteemed room promised, as affirmed by Akerfeldt, a night that would live forever in memory.
2,000 leather-clad metal heads sitting in chairs in this historic venue is an incredibly amusing sight. The novelty felt surreal, a feeling which increased sharply when the band arrived and launched into Sorceress, the title track of their latest, incredible album. The metal had arrived at the House, and the sound was simply huge.
The venue is tailor built for maximum dynamic effect after all. The sound was stunning. As per tradition, the band showcased a song off each album from their back catalogue, bar the two feature albums of the evening, along with a collection of new tunes, all of which took on an incredibly cinematic life in the venue. Ghost Of Perdition saw the first death growls for the evening, with Akerfeldt’s guttural roars exploding through the venue, whilst crowd-favourite Face Of Melinda was seemingly made for halls like these with its dynamic swells.
https://www.youtube.com/watch?v=ybC6iBWLZ6k
It was immediately clear that the band were having the time of their lives. Traditionally quite reserved on stage, the chemistry between guitarists Akerfeldt and Fredrik Akesson was infectious, with the pair constantly communicating and bouncing off each other, most noticeable in the pulsating Cusp Of Eternity. The playing of drummer Martin Axenrot could only be described as joyful, as he and bassist Martin Mendez provided the glue that kept the complex arrangement together, whilst keyboardist Joakim Svalberg constantly engaged the crowd sitting in the stalls behind the stage, as well as providing a dazzling collection of solos, particularly mind-blowing on The Wilde Flowers.
https://www.youtube.com/watch?v=O9vA6dJJX-8
Akerfeldt also lived up to expectations as the “funny guy” of death metal with his consistent banter with the crowd. With remarks ranging from the size of the venue (“It’s actually kind of….tiny inside”), to how he felt before playing normal shows (“you kind of want it to get cancelled so you can watch a cooking show”) it was clear that he and the band were at ease in the setting. The sense of humour that ran throughout the show could be summed up by one simple exchange:
Fan: “I love you Slipknot”
Akerfeldt: “I love you too, Austria.”
As the first half of the show concluded with a stunning rendition of personal favouriteThe Drapery Falls, the band exited the stage and half the audience rushed for the doors no doubt wanting a beer before the second half of the show began. No sooner was I outside my door however than the opening strains of Damnation opener Windowpane could be heard from within the venue- the band didn’t have any interval at all but had merely gone off for a brief drink and half the audience had mistakenly left. As about 700 people stampeded back to their seats for the second half of the show, the band carried on with a collection of cuts from the soft and grim Damnation record, pulling out Closure and Death Whispered A Lullaby, a song which Akerfeldt revealed had been mostly penned by Steven Wilson of Porcupine Tree.
After half an hour of softer numbers from the album, there was only one way to turn, and that was to the extreme heaviness of Deliverance. Akerfeldt and co. pulled out all the stops for the heavier material, unveiling Masters Apprentice and, to everyone’s delight, rarity By The Pain I See In Others for its fourth and “probably final” live airing. Both numbers sounded huge in the cavernous concert hall but the Swedes saved the best till last, dropping the legendary title track of Deliverance to close out the evening. To me, this song is the epiphany of all things Opeth and one of the finest musical compositions across all genres. Such was the power of the song in the live setting that I found myself holding back tears as the weight of the song washed over the crowd, with the song’s legendary final riff prompting a sea of windmilling, headbanging and horns thrust in the sky.
https://www.youtube.com/watch?v=c1Lkc3OqtDU
There is nothing worse than a special event not living up to expectations and, if I’m honest, I wasn’t convinced before the start of the show that the band would be able to pull off three hours of death metal at such an unusual venue. But the reality is that Opeth at the Sydney Opera House was the best show that I have ever seen.
For three hours the band held the crowd spellbound, dazzling us with their technical skill and showing the masses that metal with sheer feeling and emotion far outweighs anything that relies on speed or skill. Opeth is truly one of a kind, and those in attendance for their show in Sydney have been given something to cherish in memory for many years to come.
Image: Rolling Stone Australia
For more than 25 years, Swedish prog-metal band Opeth have been a major force in heavy music. Led by creative mastermind Mikael Akerfeldt, Opeth continue to push boundaries and experiment within their unique marriage of death metal and folk. Since controversially dropping their trademark death growls from 2010’s Heritage onwards, the band have found new ways to grow, fusing retro jazz and prog elements into their sound, recently resulting in last year’s dynamic Sorceress. As the band gear up for another eagerly anticipated Australian tour, including a special one-off three hour set at the Sydney Opera House to showcase the juxtaposing Deliverance and Damnation albums, guitarist Frederik Anderson took some time to talk us through how he’s grown as a musician through the band’s stylistic change, as well as why their upcoming set at the Opera House is set to be a career highlight.
What are you up to?
I’ve just done six interviews in a row and you’re the last one! I’m home in my apartment in Stockholm, hanging about in the morning. After this, I can just go back to shredding on the guitar!
Do you play constantly when you’re not on tour?
Yeah, I try to play a lot. I like to prep for the tours and go for the set list. I’ve been nerding out on some classical guitar solos as well, trying to keep my playing chops fresh. I try to keep the mentality from when I was 16 or 17 – always wanting to play.
Do you ever try and get away from music when you’re not on the road?
I do think it’s good to step away from it a little bit for a couple of days at least after a big tour. Lately, I’ve been picking the guitar up faster than usual. Sometimes I might have a break for like a week but I’m in this guitar phase right now where I’m just enjoying playing the instrument. It’s good to have a break though and find some new ways in your playing to inspire you.
The style of Sorceress follows the same 70s jazz fusion sound that the band explored on Heritage and Pale Communion. How did those albums challenge your own playing personally as primarily a death metal guitarist?
Mikael writes pretty intricate riffs which are demanding, but when it comes to lead playing it’s inspiring and there are a lot of different styles. Will O’ The Wisp goes for a very Celtic kind of vibe, and then you have the solo in The Wilde Flower which is a far more shred-based kind of solo in the traditional metal vein. The variation between the songs puts the test to you. It’s a challenge to always be thinking about what will suit the song and what will be tasteful for the song.
https://www.youtube.com/watch?v=Kfpnwk-DXrA
Which songs from the record did you find particularly hard to perform stylistically?
Both me and Mikael were struggling on the song Era which has this intense syncopated beat that just goes on forever. It’s endless. I had this blood blister on my index finger where I was holding the pick, so every time I hit the frets I was hitting this horrible blister, it just got bigger and bigger. When you listen it sounds pretty simple, but simple things can be far harder than technical things sometimes.
https://www.youtube.com/watch?v=98wXIjkO4i0
In Opeth’s heavier days there was much less emphasis on solos. Was there any reason you chose to go down a more technical route?
It’s really up to Mikael, he writes everything. He’ll say, “I want you to play a solo there”, and I’m a guitar nerd so I love getting asked that. It depends on the kind of song, but on this album Mikael wanted me to play more than on previous records. But there has to be a purpose.
Theband are also using more keyboards at the momKeyboards have also become a big thing with the band’s live setup as well as studio recently. What new possibilities did that open up when recording Sorceress?
Well, Mikael decided to add them into our stuff more prominently after the Watershed album. Our old player Pier Wilburg was in the band since the Lamentations live DVD, which was when we started using keys live, and we started using keys more in the studio on Ghost Revelries, which you can hear on songs like Baying Of The Hounds. Mikael is a big fan of the old 70s prog and heavy rock stuff which has lots of Moogs and Hammonds and Mellotrons and all that spooky sound hat you can create. It’s been a big part of the sound since Blackwater Park but not to the same extent. I think after Watershed we changed a lot of stuff. Some riffs which were meant to be played on the guitar underwent a style change and were played with the keyboard sound instead, which created a cool different vibe. The previous album had more keyboards but Sorceress is more guitar based. Mikael writes all the keyboard parts as well, he spends a lot of time thinking about it. He knows what he wants to hear and he figured it out with a modern technique, and then our keyboard player has to figure it out, although sometimes he will remind Mikael that he doesn’t have 12 fingers.
https://www.youtube.com/watch?v=zXNpMlfYXD8
How long did it take you to warm up to that change of style? Were you always a fan of that sound?
I was always a fan of it. I grew up with Black Sabbath and Rainbow era Dio. I’m also a big fan of Rush and King Crimson. I’m a metal head at heart, we all are, but it wasn’t too strange to change it. I do remember when Mike brought it up, right before we did Heritage – it was a bit of a shock. But I heard the songs and it made sense. To put growls in the songs for the hell of it would have been cheesy, it would have become a gimmick. I can understand that some people are frustrated, but we’ve done three albums and the metal element is still a huge part of our sound, we don’t shy away from that. It’s just none of us wanted to stagnate and to repeat ourselves. Mikael felt that he took the extreme metal thing to its peak on the Watershed album so now we are just thinking about how to do things in different ways. That being said, Sorceress is getting a bit more heavy, but I think the new stuff and the old stuff go well hand in hand in the live situation. They feed off each other well and create a good dynamic.
Turning to your upcoming tour, the band are doing these special one-off shows around the world showcasing the Deliverance and Damnation albums, one of which will be in Sydney. Those albums came out before you were in the band, but what is your opinion of the Opeth of the early 2000’s?
Deliverance is probably my favourite Opeth album right now. We are playing songs like By The Pain I See In Others and we had never played it live before, and it’s challenging but so enjoyable! I practised the songs so much at home that I felt like I was a part of the song, even though I wasn’t, to get the right type of feel to it. We had to get it to melt into the DNA. Playing songs from Damnation such as Death Whispered A Lullaby are also really enjoying because they are such atmospheric songs. It’s a lot of fun, as well as going older stuff like material from Still Life and Morningrise. It’s always a challenge to nail everything, and sometimes you stand there onstage and just think “How the hell are we going to remember all this stuff?”
To wrap up, the Sydney show is going to be at the Opera House which is a high cultured venue where you might not traditionally hear a death metal band in full flight. The band have also played the like of Royal Albert Hall and Radio City Music Hall in the past. What’s next on your quest of bringing metal to the cultured?
I think on this previous tour we even played some of these more classical concert venues, and that’s great so we don’t alter the set at all. It’s awesome for the acoustic listener in those places, so when we play cities we are trying to play different venues every time because the venue really frames the show. It makes the night special and different for us and the listener. Just to be able to play the Opera House is something that I would never believe would be happening- it’s just mind-blowing. Of course, you have big goals like playing Maddison Square Garden, but there’s nothing wrong with having big goals. It would have been great to play Hammersmith Odeon in the UK or the Budokan in Japan, but the list goes on. However, it’s very difficult to top the opera house. That’s the highlight. You can play places that hold more people but I reckon it’s very prestige and the fact that we are the first band in the metal community that gets to play there is also a very big thing for us. It was the same with the Royal Albert Hall. We got to do death metal growls in a posher venue and it felt rebellious. I remember Mikael walked up to the mic in the Royal Albert Hall and was just like “Can I say cunt in here?” We’re just a bunch of silly boys.
Opeth will be touring Australia alongside Caligula’s Horse over the next week. See below for dates.
Unbeknownst to some, hip-hop isn’t our only love here at Howl & Echoes; we don’t discriminate when it comes to great music, whether it’s rock, pop, electronic or metal. This year has been as outstanding for the world of heavy music as it has been for every other genre, so we thought to showcase some of our favourite picks from Australia and beyond.
Curated by your two heavy-loving Howlies Alasdair and Lauren, here are our favourite metal albums of 2016 (in alphabetical order).
Enjoy!
Architects, All Our Gods Have Abandoned Us
Before you even listen to this record, the album title and bleak artwork was clear indication that Architects were going deep. The UK band’s seventh outing is their best, and heaviest yet; dramatic and intense reinterpretations of the sounds they had already familiarised fans with on previous records. Lyrically it’s nihilistic as fuck (the opening track is indeed called Nihilist); “Sorry son, but we destroyed your home, we murdered your family, now you’re on your own,” he spits on A Match Made In Heaven. “Just let me burn the bridge that leads me nowhere, because it’s gone and it’s never coming back.” Metalcore doesn’t always grab me, but Architects have a knack for kicking you in the guts and enchanting your ears all at once.
On a more intimate note, this album has great meaning for Architects fans and the band themselves, as guitarist Tom Searle passed away from cancer just three months after it was released. At the time, Searle’s brother and Architects drummer Dan Searle announced, “I don’t know what will become of Architects. Me and Tom started playing in a band together when we were 13 and, really, Architects is just an evolution of the band that we started all the way back then, over half my life ago… We want to carry on, that is important to say, and we will strive to do so, but we will not release any music unless we truly believe that it is something that Tom would have been proud of. Whether or not we can achieve that is something that we will have to discover in time.” – LZ
https://www.youtube.com/watch?v=O59JNz7rdIU
The Body, No One Deserves Happiness
It’s been a busy few years for experimental duo The Body. They’ve released two albums this year, both of which are on this list, and last year they released three collaborative records. No One Deserves Happiness did not take time to settle in like some albums do. On first listen it hit me instantly, and it hit me hard. The Body have long honed their skills for challenging one’s conception of what heavy, like, really heavy, music can entail, and on this record they perfect those intersecting moments where metal meets other elements. Not many bands can champion a sound so terrifying and huge, while incorporating synths, 808s and pop influences throughout. This is a beautiful, dark album that envelops me from Chrissy Wolpert’s haunting guest vocals on opening piece Wanderings, to the Liars-esque Two Snakes, to the final distorted chaos of closer The Myth Arc, and everything in between. I’ve listened to this more than almost any other heavy record this year and I continue to discover new elements each time. – LZ
https://www.youtube.com/watch?v=p4SJrAPtki4
The Body and Full of Hell, One Day You Will Ache Like I Ache
This was an incredible collaborative album from two bands who each released two albums this year; The Body’s aforementioned solo record, and Full of Hell’s fantastic split with Nails (who also appear on this list). To be honest I had not really listened to FoH before this album was announced, and I didn’t know what to expect from a collaboration between the pair. Well, goddamn. This album is so sonically and emotionally overwhelming that it’s almost impossible to describe. The soundscapes don’t seep into your pores so much as they suffocate them. It’s merciless to the point of disorientation, which doesn’t necessarily sound like a positive review, but it’s hard to do this album justice without simply insisting that you strap on your headphones and turn the volume up to 11. – LZ
https://www.youtube.com/watch?v=N_pSD78lzOQ
Cobalt, Slow Forever
It can’t be easy to release an album after a seven year break, especially after Slow Forever was first announced back in 2013 – the hype is almost impossible to live up to – more so because it is their first with a new vocalist, Charlie Fell. But Cobalt have managed to traverse these murky waters and the 12-track double album is their best yet (and Cobalt are already a fucking good band). Another group who make far more sound than two people should feasibly be able to make, Slow Forever is powerful and incredibly well-structured in spite of the 84-minute running time, which includes two 11 minute tracks; every layer feels refined and crucial. An outstanding return to the fore. – LZ
https://www.youtube.com/watch?v=0CbeJydbYu0
Cult Of Luna, Mariner
For their latest outing, the Swedish doom-metal progsters enlisted the help of ex-Made Out Of Babies frontwoman Julie Christmas to splash new colour into the band’s iconic, grim sound. The result is crushingly heavy riffs that feel as though the pressure of the entire ocean is pressing down upon you, with the vocals of Christmas adding a shrill sense of desperate anguish to the entire affair. A stunning, dynamic outing that details an adventure through space. – AB
This was also on my list of top metal albums for the year. The juxtaposition between Julie’s helium-high vocals and CoL’s menacing roars could not be more perfect. But that’s not the only blend that works well on this record; as a whole, marrying stretched-out, doomy chords with frantic rhythms and huge riffs, along with the more psychedelic elements and lengthy harmonised guitar lines harmonies means there’s something for everyone across a wide spectrum of metal fans. – LZ
https://www.youtube.com/watch?v=z_O-NZfzvj0
Cursed Earth, Enslaved By The Insignificant (Australian)
The Perth quintet have been turning heads for some time, and their debut record shows precisely why they are worth the time. The group strike up a might racket with their blackened hardcore and keep things going until the last shriek of album-closer Stark. But that’s exactly how this music should be. Aggressive, fast and loud. An awesome debut. – AB
https://www.youtube.com/watch?v=SJKVR-3-rCg
The Devin Townsend Project, Transcendence
The beauty of Devin Townsend is that listening to each new record feels like the beginning to read a book that you know will be brilliant, or watching a movie that has already been hailed as one of the greats. The sense of anticipation will almost always be rewarded ten-fold, and Transcendence is no different. Bombastic drums, powerful riffs and soaring vocals, it’s a combination of all the best elements modern metal has thrown up in the last 10 years. Brilliant. Nobody else makes feel-good wall-of-noise epicness quite like Dev, and this is one of his best releases ever. – AB
https://www.youtube.com/watch?v=YhcoLO8vZZU
The Dillinger Escape Plan, Dissociation
It is with bittersweet emotion that I write about this album, TDEP’s final ever record, and ultimately their best and most passionate since 2007’s Ire Works. Although I understand their reasons, news of their break-up was truly heartbreaking, and listening to this album filled me equally with joy and sadness. They were one of the very first metal bands I ever truly loved and the first heavy concert I ever attended (it was at the Gaelic Club in 2005 and they played with Stockholm Syndrome and Pure Evil Trio, I was 15), and I have seen them live across at least three countries since. Emotive and melodic at times, utterly horrifying at others, this album is a richly diverse, triumphant finale to an incredible career. RIP DEP. – LZ
https://www.youtube.com/watch?v=yztG35U5Hrw
Gojira, Magma
I guarantee you haven’t heard death metal performed in a way that can truly be described as beautiful until you hear this record. The heartbroken musical result of the loss of founding members Joe and Mario Duplantier’s mother, the band strip back the unnecessary layers and gift us with a raw, melodic progressive death metal. The sound ranges from the smooth, uneasy tones of title track to the pulverising effect of The Cell. One of the faces of contemporary heavy music at their best. – AB
https://www.youtube.com/watch?v=iVvXB-Vwnco
Graves, Monster (Australian)
It was a long-time coming, but after years of constant touring, line-up changes and setbacks, Wollongong outfit Graves finally signed to Greyscale Records and dropped this absolute whopper on the music community. Slow, doomy riffs make up the bulk of the album, with tracks Fear, 505 and Father all containing an undertone of horror. The blood-curdling shrieks, pounding kicks and grainy guitars are all hard to take in one sitting, but as a body of work Monster is a daunting yet impressive work of art. – AB
https://www.youtube.com/watch?v=BS2JYkowxIc
King Gizzard and the Lizard Wizard, Nonagon Infinity (Australian)
The uproar caused when this band took the ARIA Award for best hard rock/ heavy metal performance was both laughable and thought-provoking, but one can’t escape the fact that this record is HEAVY. Just because a band doesn’t produce metal records for a living doesn’t mean they can’t dip their toe in from time to time, and the Melbourne psych-machine delivered this stellar LP as a tribute to the likes of Motorhead and Black Sabbath, the forefathers of the genre. Across the nine tracks come powerful riffs in People Vultures and Evil Death Roll, dazzling drum fills throughout Big Fig Wasp and Gamma Knife, and speed in the title track and Rocket Train that prove this band can certainly stick it with the bearded, tattooed minority. A well-deserved award. – AB
https://www.youtube.com/watch?v=6f78_Tf4Tdk
Lifesick, 6 0 1
Danish metal group Lifesick were announced as Southern Lord’s newest signees back in August. Their debut album 6 0 1 came out last month (well, some online listings date it 2015 but it was officially released through Southern Lord this year) and blew me away with its unhinged brashness; I’m not usually a hardcore fan, but the rapid rhythms are weighted down by enough of a grungy, sludge anchor that it quickly won me over. This is the shortest record on this list, with eight tracks filling up just 24 minutes, but those 24 minutes are an unforgettable onslaught of thunderous riffs and aggressive growls. A tremendous debut from a band to keep an eye on over the next couple years. – LZ
https://www.youtube.com/watch?v=WWlKzU02Zl0
Nails, You Will Never Be One Of Us
In the amount of time it has taken me to write this article so far I have nearly finished a second run of this album. It’s short, fast, heavy, loud and angry. Most tracks only just grace the 90 second mark with blast beats, solos and guttural roars making up the short but impressive body of work. Low-fi death metal has never been this brutal, nor unique. This trio has found something impressive and here’s hoping they stick to it. – AB
https://www.youtube.com/watch?v=aPVt9yR8t2o
Opeth, Sorceress
For the better part of 25 years the Swedish proggies have been stunning fans and critics across the planet with their unique blend of death metal and folk. However, over past 5 years the band have abandoned the growls in favour of more jazzy and mind-bending compositions. It took them awhile to master it, but on Sorceress everything comes together beautifully for the band. The fusion of bluesy metal with acid-jazz influences works a gem and proves that the bands new direction has well and truly paid off. – AB
https://www.youtube.com/watch?v=O9vA6dJJX-8
Plini, Handmade Cities (Australian)
The second decade of the 21st century has been something of a lap of honour for bedroom guitar nerds, and Sydney-sider Plini is no different. His wonderful debut album takes listeners on a journey of the musical imagination, with doses of funk, jazz and soul mixed into a wonderful melting pot of a djent shred-fest minus the conspiracy theories. From guitar pro to international tours alongside Animals As Leaders and Intervals, the future is bright for this man. – AB
https://www.youtube.com/watch?v=oNFXnFAKqAE
Russian Circles, Guidance
I somehow managed to sleep on this album for about four months after it came out, but I’ve barely stopped listening to it since. The Chicago trio have been one of my favourite heavy instrumental bands for years, and they continue to prove their prowess and talent on Guidance. Across 41 minutes we’re treated to lush, towering walls of sound and a foreboding, wildly varied topography. From the melodic folksy opening of Asa, to the plucky introduction to Mota, the solemn Overboard and beyond, each track descends into beautiful, enveloping noise. It’s so easy to lose yourself among these soundscapes that you’ll probably find yourself needing to listen to it on repeat at least twice in succession. Another triumph for one of instrumental metal’s all time greats. – LZ
https://www.youtube.com/watch?v=1LwqiWBlyMs
RLYR, Delayer
Although only four tracks long (the final track is 23 minutes), this album is an absolutely breathtaking journey through heavily rhythmic instrumental pieces which possess a surprisingly positive, and, dare I say it, happy, feel about them. It’s unsurprising that this album is so fantastic considering the pedigree of its members – Pelican‘s Trevor Shelley de Brauw (guitar), Russian Circles’ Colin DeKuiper (bass) and Steve Hess of Locrian (percussion). RLYR (pronounced Relayer) began as an improvisational exercise, and when the chemistry was palpable, they put it to record. More than any other metal album this year, this is the one to share with people who think they don’t like heavy music. – LZ
https://www.youtube.com/watch?v=9mkDO8qiV5c
Swans, The Glowing Man
Since the early 1980s Swans have been untouchably legendary, and although their reformation in 2010 was addressed with caution at first, many of their subsequent releases are among the very best of their career. 2016’s The Glowing Man is a beautiful, gut-wrenching and dramatic. Admittedly it’s hard to approach such a beast; you know that feeling where you buy a 1000-page book, the sheer size is so daunting that you keep stalling to open it, but as soon as you read the first chapter you can’t put it down? That’s how I feel about this album – at two hours long, it’s not easy to absorb, but it is absolutely worth every moment. – LZ
https://www.youtube.com/watch?v=jFHQiYvuVlM
Void Of Vision, Children Of Chrome (Australian)
These angsty Melbourne upstarts are like your friend’s new puppy-small, writhing with energy and ready to take on the world. Things have escalated quickly for the group this year, with multiple tours followed by a whirlwind signing to UNFD and debut album- and what an album. Fast, loud and hard-hitting, the boys pull no punches and let their simple form of Metalcore shatter eardrums. The lads will have to mature further musically to ensure their place on the world stage, but this record is great fun. – AB
https://www.youtube.com/watch?v=TsWsry9viVs
Words by Alasdair Belling and Lauren Ziegler