Halloween, shmalloween. Why does everyone have to dress up for this festivities of the ghouls? Back in my town, in Chinese tradition, the ghost festival was regarded as quite a serious evening as the actual gates of hell open and lost spirits and all dark matters are permitted to roam among the human world. Kids were advice to stay at home, curbs are dotted with molten wax and piles of yellow 'underworld' money scattered everywhere. The point I am trying to make is despite Om playing last and appearing with no costumes, make up and outrageous stage maneuvers; their vibrations were by far the most intensely mind melting, bone chilling and soul blackening of the whole evening. Well where do I start? Al Cisneros (bass/vocal, founder of legendary stoner metal bands 'Sleep' and 'Asbestosdeath' in the 90s) broke the anticipating silence amongst the remaining crowd who were true disciples of the holy mountain with 'On the Mountain At Dawn'. The sound of his bass's monolithic setup resonated through the floor boards as he introduced the opening riff. True to his skin with nothing more than a flock of long black hair and druid-like head rocking, the spiritually guided Cisnerous invited the crowd into his cosmically ritualistic sisyphus mesmerizing runic world of bass distortion. Then to my surprise a tall skinny man with a short side parting walked on stage and sat in front of the drums. Never to expect their newly replaced drummer Emil Amos (from 'Grails' and 'Holy Sons') to look alittle fragile when compared to Om's original thick-bearded lumberjack looking drummer Chris Hakius, who left the band in January 2008. Hakius' powerful, melodic and intricate interlacing of the ride cymbal was indeed difficult to replicate. However, Amos did managed to reproduce a similar aura of excellence by adding his own flare and interpretation of the second song in their set 'At Giza'. If one was to listen to 'At Giza' on record, one will be engulfed by the rich luscious psychometric melody, Tibetan prayer like chanting vocals and dense mutating drums. It is the perfect soundtrack for any inner metaphysical moments of epiphany in our daily lives, i.e. discovering to use crème fraîche is a much lighter option than single cream when making spaghetti carbonara. But when witnessing this live version, the unforeseen dynamics between the duo's fresh approach to Om have elevated this track to a higher state of meditation for the soul. Incredibly tight and harmonized down to every millisecond of this no less than 15 minute monumental display of music craftsmanship, it is curious to wonder what Om is capable of executing when they performed continuously for 5 hours in Jerusalem in December 2007. To draw the whole evening to a close, they played a number which, to be frank, I am not entirely sure what the title is. However, the introduction was a 10 minute mechanical march of organically evolving melody from Cisneros' holy wand for summoning the mystic beings from the underworld. Accompanying this, an explosive apocalyptic storm of double stroke rolls, flares, 1/2 beat hi hats, 16th note double bass patterns spreads to all tympanic membranes in the venue. To sum I think should be more critical and less bias towards Om. But seeing such megalithically somber and transcendental status of Al Cisneros and Emil Amos' freshly invoked energy was "the orphic glow seen as aural sounds ring climbant to the throne within on spine's attuned prow". Watch the ATP space for an exclusive reforming of Sleep in May next year.