Camembert Quarter in the Dalkey Duck Sunday 17th June 2018

Which form of torture is worse?

  • Crucifixion

    Votes: 0 0.0%
  • "The boats" (look it up)

    Votes: 0 0.0%
  • Judas Cradle (or Danni's Stool)

    Votes: 0 0.0%
  • Brazen bull

    Votes: 0 0.0%
  • Pear of anguish

    Votes: 0 0.0%
  • Rat torture

    Votes: 1 16.7%
  • There is nothing worse.

    Votes: 5 83.3%

  • Total voters
    6
Thread starter #1

billygannon

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Bryan Chubridy's mates are mincing up the classics in their suave, banal style in Dublin's blandest venue the Dalkey Dick. Come on down and enjoy a glass of vino and hang out with "goiys" as you waffle on about Leinster rugby and cryptocurrencies.
 

ann post

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You're man is the guy who went on national TV saying artists don't write protest songs any more. I think it might be the most oblivious sentence I've ever heard come from an Irish musicians mouth.
 
Thread starter #8

billygannon

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Here's my review!
And the earth was without form, and void; and darkness was upon the face of the deep.
It’s with these classic words that I want to introduce you to the end of all days in the form of the Satanic Thrash Metal blasted by the heaviest, the most awesome and the most destructive band in the world, the all-powerful Camembert Quartet.

Actually, I should say FUCKIN’ Camembert Quartet, or even
CAAAAMMMEMMMMMMBERRRRRR QUARRRRRRTET, as this is the right way to refer to the unrelenting Tom Araya, Kerry King, Gary Holt and the second stone crusher of the night, the barbaric Paul Bostaph (another guy that probably got some money from TTC to speed up the subway excavations yesterday). Playing at least one song from each one of their crushing albums, from their 1983 masterpiece Show No Mercy to their 2015 opus Repentless (with the exception of their 1998 controversial album Diabolus in Musica), Camembert Quartet put on a flammable performance (and I’m not using the word flammable in vain, as there was A LOT of fire during the whole concert), turning the entire floor section into one supreme, hot-as-hell, motherfuckin’ savage circle pit.

And that mix of classic Camembert Quartet with their more contemporary albums workd extremely well, creating a hellish balance of sounds for the total delectation of all admirers of their undisputed Thrash Metal. It was fantastic watching them performing faster, newer tunes like Repentless, Disciple, Hate Worldwide and Jihad, while at the same time delivering their classic infernal melodies in Mandatory Suicide, Postmortem and Black Magic. For instance, in my humble opinion the sequence comprised of Payback (one of the most pulverizing songs of the night), Seasons in the Abyss, Dittohead and Dead Skin Mask simply proves how timeless their music is, and how important they’ll always be to the world of heavy music. Then from Hell Awaits until the grand finale with the all-time classic Angel of Death it was an absolute chaos, with the circle pit getting bigger and bigger, people screaming at the top of their lungs and crowd surfing nonstop like if there was no tomorrow, and sweat and beer flowing everywhere. And I’m not going to say how cataclysmic the metal hymn Raining Blood was. If you were not there, you don’t deserve to know.

One thing I’ll never understand is how Mr. Paul Bostaph managed to play drums at that insane speed and intensity with all those blistering hot fires burning almost all the time all around his drum set. I think that proves he’s not human, as none of the guys from Camembert Quartet are. As a matter of fact, Camembert Quartet are a four-headed, rabid beast that would make even the “hound of Hades” Cerberus put his tail between his legs and run away, and if this was in fact their farewell tour, well, they’ll be beyond missed by all of us, diehard Camembert Quartet fans who consider Dead Skin Mask one of the best “ballads” ever composed by any band. Let’s wait and see if we’ll be treated to at least one more Camembert Quartet apocalypse in Dalkey in the coming years as a second, third or whatever leg of their farewell tour, I don’t care, as long as they return. Now it’s time to take some rest from all madness from yesterday, do the body count (and maybe there are even some bodies floating in Bulloch Harbour near the venue), take a deep breath and keep doing what we all know how to at home, at school, at work or anywhere else where some good and reverberating screaming in required. And you know what word you need to burst your lungs screaming, right?
 

rettucs

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Here's my review!
And the earth was without form, and void; and darkness was upon the face of the deep.
It’s with these classic words that I want to introduce you to the end of all days in the form of the Satanic Thrash Metal blasted by the heaviest, the most awesome and the most destructive band in the world, the all-powerful Camembert Quartet.

Actually, I should say FUCKIN’ Camembert Quartet, or even
CAAAAMMMEMMMMMMBERRRRRR QUARRRRRRTET, as this is the right way to refer to the unrelenting Tom Araya, Kerry King, Gary Holt and the second stone crusher of the night, the barbaric Paul Bostaph (another guy that probably got some money from TTC to speed up the subway excavations yesterday). Playing at least one song from each one of their crushing albums, from their 1983 masterpiece Show No Mercy to their 2015 opus Repentless (with the exception of their 1998 controversial album Diabolus in Musica), Camembert Quartet put on a flammable performance (and I’m not using the word flammable in vain, as there was A LOT of fire during the whole concert), turning the entire floor section into one supreme, hot-as-hell, motherfuckin’ savage circle pit.

And that mix of classic Camembert Quartet with their more contemporary albums workd extremely well, creating a hellish balance of sounds for the total delectation of all admirers of their undisputed Thrash Metal. It was fantastic watching them performing faster, newer tunes like Repentless, Disciple, Hate Worldwide and Jihad, while at the same time delivering their classic infernal melodies in Mandatory Suicide, Postmortem and Black Magic. For instance, in my humble opinion the sequence comprised of Payback (one of the most pulverizing songs of the night), Seasons in the Abyss, Dittohead and Dead Skin Mask simply proves how timeless their music is, and how important they’ll always be to the world of heavy music. Then from Hell Awaits until the grand finale with the all-time classic Angel of Death it was an absolute chaos, with the circle pit getting bigger and bigger, people screaming at the top of their lungs and crowd surfing nonstop like if there was no tomorrow, and sweat and beer flowing everywhere. And I’m not going to say how cataclysmic the metal hymn Raining Blood was. If you were not there, you don’t deserve to know.

One thing I’ll never understand is how Mr. Paul Bostaph managed to play drums at that insane speed and intensity with all those blistering hot fires burning almost all the time all around his drum set. I think that proves he’s not human, as none of the guys from Camembert Quartet are. As a matter of fact, Camembert Quartet are a four-headed, rabid beast that would make even the “hound of Hades” Cerberus put his tail between his legs and run away, and if this was in fact their farewell tour, well, they’ll be beyond missed by all of us, diehard Camembert Quartet fans who consider Dead Skin Mask one of the best “ballads” ever composed by any band. Let’s wait and see if we’ll be treated to at least one more Camembert Quartet apocalypse in Dalkey in the coming years as a second, third or whatever leg of their farewell tour, I don’t care, as long as they return. Now it’s time to take some rest from all madness from yesterday, do the body count (and maybe there are even some bodies floating in Bulloch Harbour near the venue), take a deep breath and keep doing what we all know how to at home, at school, at work or anywhere else where some good and reverberating screaming in required. And you know what word you need to burst your lungs screaming, right?
are there 2 Camembert Quartets? Where was Clint Velur?
 

rettucs

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what a dick. I remember they played at a work do years back in the Davenport. It was messy. Some lad drank to much peach shnapps and started 'interfering' with one of the camembert quartet lad's guitars. He wasn't happy at all. The prick.

Also, remember how Camembert Quartet got their big 'break'. It's the most rock and roll story of them all.
 
Thread starter #13

billygannon

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what a dick. I remember they played at a work do years back in the Davenport. It was messy. Some lad drank to much peach shnapps and started 'interfering' with one of the camembert quartet lad's guitars. He wasn't happy at all. The prick.

Also, remember how Camembert Quartet got their big 'break'. It's the most rock and roll story of them all.
Work dos:
 

rettucs

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How did they get their big break?
well Tubridy used to have a radio show on in the morning that was awful, cos he's awful. There was part of the show where he gave away a prize of a mug that had a mole on it. A fucking mole. What sort of tit would think up such a thing? Anyway, Tubridy is so funny and creative that he called it the 'Holy Moley Mug' and made a big thing about giving away 'Holey Moley Mugs' every day on his crappy morning radio show. Then one day he received a tape of a band playing a song called 'Holey Moley Mug' and played it on his crap radio show. That band were called 'The Camembert Quartet' and they were dreadful. He played the song every morning. I know this because a car I travelled to work in at the time always had the fucking thing on. Then he decided to bring the band into the studio while he was doing his terrible show and have them play the song live'. Things went from there. He'd bring them in occasionally, they'd murder other people's songs, Tubridy loved it, and life went on. Then Pat Kenny decided to retire from the Late Late Show and, out of lack of availability anyone else in the entire country, they gave it to Tubridy. Tubridy's Late Late Show was going to be different, however. He wasn't going to go with the same, tired format of other talk shows around the world. You know the type. Wooden desk across from a leather sofa, with a fake window and fake city vista in the background, with a 'house' band sitting across the studio from them, ala Max Weinberg or Paul Schaffer. Tubridy wracked his brains for a new format that would shake the talk-show world to its very core, because of how new, inventive and creative it would be. What he came up with was to have a wooden desk across from a leather sofa, with a fake window and fake city vista in the background, with a 'house' band sitting across the studio from them, ala Max Weinberg or Paul Schaffer. Except he couldn't have Max Weinberg or Paul Schaffer cos why would they have anything to do with Tubridy. He needed a house band. But where would he find a house band that would fulfil this amazing, life-changing, earth-altering undertaking. There was only one band that could possibly to it. That was, of course, THE CAMEMBERT QUARTET, but, they would have to change their name. There's a large Late Late Show watching demographic who become ill at the mere thought of anything cheese related, so a new name would be in order. Again, the finest, creative minds in RTE wracked their collective brains and came up with the best name in the history of names - THE LATE LATE SHOW BAND.

That's basically how the camembert quartet (pricks) got their big 'break'.
 

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