LIVE REVIEW: Lake Malice @ The Underworld, London

Eternal December is particularly apt tonight, the temperature unseasonably chilly for March. That’ll soon not matter though; hyperpop-meets-metalcore duo LAKE MALICE might only have an EP and a smattering of singles to their name, including latest ode to seasonal depression and homesickness Eternal December, but they’ve gathered an already-loyal following that have propelled them to their first headline tour. Tonight they’re at the legendary Underworld and have brought their friends in CRASHFACE and THECITYISOURS. 

Coming on just half an hour after doors CRASHFACE don’t have the easiest start with an extremely thin crowd. The four piece still give it their all, delivering crunchy alt metal with nu-metal undertones enthusiastically. There’s a definite sense that some songs end a bit too abruptly, often madly rushing through sung choruses to moments lent their heaviness by a bass drum so loud it rattles through your stomach. Being so rough around the edges works in their favour, the clear punk influence bringing a ramshackle charm. Electronics are woven through, though there’s moments of less inspired rap during a song that are mercifully short. Even if the crowd don’t go wild for it, there’s plenty of promise in the band that their newer songs hint that they might be grasping. 

Rating: 7/10

THECITYISOURS have been around a little while now, and the experience shows in their easy command of the stage as soon as they walk on. A pulsing beat and red lights herald them before they bring their nu metalcore to bear, bouncing grooves setting heads bobbing swiftly. They fold in poppy hooks alongside breakdowns and although it’s hardly an original take on the genre, they’re committed to it and clearly having a blast. A particularly heavy breakdown opens the first pit of the night, one that doesn’t close for a couple of songs after as people jump and mosh. At times it’s the kind of swaying, grooving metalcore that has just as many hips moving as necks, the band grinning and commanding ever larger circle pits. They leave the room plenty warmed up for what’s to come. 

Rating: 8/10

The room has noticeably filled out by the time LAKE MALICE walk on to pulsing electronics, guitarist Blake Cornwall whirling as he hits the first notes of Black Turbine. Vocalist Alice Guala is a powerhouse as ever, guttural roars paired against melodic croons and towering choruses. “What the fuck is up, London,” she grins as its breakdown opens a mammoth pit that stays open for the rest of their set. Touring drummer Emily Ainger anchors their fury, switching between battering ram and more breakbeat-inspired patterns like with Bloodbath. They’ve always had a penchant for infusing hyperpop and EDM into their music, with their third song of the night, a new one they don’t name, being equal parts CHARLI XCX and acidic metalcore, presided over by Alice’s ferocious screams. Creepers goes off like a bomb, its screed against harassment resonating stronger than ever with middle fingers held aloft to the titular creeps. 

Crowdsurfers are a near constant sight along with the odd stagediver, as the crowd whirls and shifts all throughout, testament to the onstage trio’s boundless energy including a “jumpdafuckup” moment during Power Game. The band’s penchant for storytelling also hits a new high, distorted intonations during an interval that accents their already sci-fi and horror inspirations. Latest single Eternal December naturally sees a live outing, its trancelike verse and thumping drums hitting even harder in The Underworld’s sweaty confines.

The duo have come a long way in a relatively short time and tonight shows that not only are they only getting even better and more creative musically, but the connection they have with the fans they play to is symbiotic, every ounce of energy they expend returned in kind. As they close on an incendiary rendition of their first ever song Blossom, a show LAKE MALICE prove even the sky isn’t the limit. 

Rating: 10/10

Check out our photo gallery for the night’s action in London from C Wilkinson here: 

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