It’s that time of year where Melbourne defies a blazing sun with metal fists and black jeans. Soundwave. Running a quick circuit around the new festival site (having moved from the Showgrounds to Flemington) I had to check out why a swell of people had made their way to stage 6: NORTHLANE. Great to see more local acts on the bill than previous years and these guys are rising quickly putting on a great show to a loyal crowd showing them support in favour of all the international acts playing other stages. The mosh pit is bouncing and girls are blushing. Back to FOZZY today <insert link to Anthrax/Fozzy/This is Hell review, please> to show a friend the show they put on. In the open light of stage 5 it’s easier to make out just how great a performance these guys can put out, all members exploring every inch of the stage to jump up, on and off of. I personally love The Duke’s (guitarist Rich Ward) spinning efforts, or more correctly his ability to not fall over dizzy. Continuing my trek around the festival to find the lay of the land I find a comfortable bit of grass near stage 2 to chill out to THE LAWRENCE ARMS. I’d seen this band listed on the lineup, didn’t know them and figured there’d be plenty of other acts to check out over them, but something about their self-deprecating demeanour, blue collar punk rock piqued my interest. I could draw a comparison with THE GASLIGHT ANTHEM but that may make me a terrible person for doing so. My find of the festival though. By now I’ve worked out that I hate this venue (Flemington) and the day is going to be full of long missions across great distances crashing into hordes of fellow festival goers. I’m sure there’s other reasons for the festival layout (such as noise bleed and restrictions) but human traffic needs to be better considered. Reluctant to leave my shaded, grassy spot near stage 2 the crowd was informed that MINDLESS SELF INDULGENCE had lost their gear (or rather Virgin had) and would not be playing today. Despite the side screens stating otherwise, no line-up shuffle would be made so it was time to move onto less shady/greener pastures. ORANGE GOBLIN were playing a cool set but a crowd had gathered at stage 4 that had to be checked out. PERIPHERY had built a massive mosh pit and as I arrived demanded a circle pit around the tent beam in the middle of the crowd, who obliged enthusiastically. TOMAHAWK were happy to ignore the big stage they’re on and focus on their tight setup in the middle. I arrive just as Flashback starts and the group’s presence on stage is intense, particularly John Stainer who has the look of a serial killer at work behind the drums. Even losing their set order they’re happy to just roll with whatever the sampling computer is playing them and taking crowd requests. But that’s where stage hopping really started with so many bands clashing. Over at GALLOWS the band is totally psyched/inspired by the crowd’s support for a man in a wheelchair crowd-surfing chair and all. I stick around to catch Abandon Ship (a personal favourite) before heading to BILLY TALENT. The Canucks have a big following as I arrive to find my grassy knoll the new home of a few dozen sneakers (with feet/people in them) and I find a not so crowded spot off to the side slightly obscured by a tree. Sound quality is poor from here not being as loud as other open air stages (to avoid noise bleed I assume) and such a large crowd gathered amongst the trees. BILLY TALENT are one of a number of aging bands on this years lineup which is really beginning to show in their performances (and faces). Time for a changeup so over to the hidden stage (3) to check out Motion City Soundtrack. Fortunately there’s a bar beside the stage, unfortunately the line to the bar is massive and the view of stage obscured by the fencing. It sounds like plenty of fun times happening in the tent though. Back to my kind of music SHAI HULUD have been pinned up against SLAYER so didn’t have much of a crowd let alone a mosh pit as I (and they) had expected. But they’ve got a bunch of new material to show off having released new album ‘Reach Beyond the Sun’ not five days before. Some fans already know the lyrics to the new songs and got a chance with mic duties when frontman Justin Kraus joined them in front of the stage. There’s a funny contrast to this band with Kraus an intense figure while guitarists Matt Fox, Matt Fletcher and Tony DelMonego are passionate but seem to take more enjoyment in their performance. THE DEER HUNTER also had a small but loyal following, and was a great place to rest my feet and ears in preparation for the headliners still to come. 5pm hits and I join the mob crawling towards stage 1 for BLINK 182. The band run through a set of tracks we all loved (and some we hated) throughout our lives between spats about each other’s moms, who’s giving out handies after the show and defending their ‘art’. Unfortunately with such a huge crowd a lot of people (myself included) were too far away to see much of what was happening and the sound wasn’t great. LINKIN PARK on the other hand put on a great show. The sound was clearer, having more members there was always someone doing something to draw your attention and were backed by a stage screen giving close-ups of the band’s activities and some pre-produced video (whereas BLINK 182 just had a big banner). LINKIN PARK gave the best overall performance of the festival in my book. If only JAY-Z wasn’t busy being JAY-Z to join them. 20mins past the published start time METALLICA finally take the stage, not sure if there was technical (or diva) difficulties but even with the chill setting in that was not cool by me. But who am I to complain when Master of Puppets is song #2? METALLICA bring a good mix of their earlier and later works, and between the gathered crowd, pyrotechnics display and my racing heart keeping limbs warm wasn’t difficult. But I’m a punk at heart so it lead me back to stage 2 and THE OFFSPRING. Well to PARAMORE actually, having a gawk at their finale and getting myself a decent position. Everyone was there for their OFFSPRING favourites, and I don’t think anyone was disappointed there, but the band also peppered in newer stuff including something from an upcoming album that sounded alright. Dexter and Noodles look so old now. But despite their larger (Dexter) and frailer (Noodles) frames they still dress and move like it’s 1999. At one stage Noodles even lights up (a cigarette) while playing. As the lights fall on stage 2 I join the horde slowly rolling towards the gates with METALLICA closing out their set in the background. Soundwave Festival www.soundwave.com.auPublished on Sludge Factory
7:30pm doors, 7:45pm THIS IS HELL hit the stage. The Hi Fi Bar is running a tight ship tonight, so I settle in the balcony with a red wine (saving my feet for Soundwave the following day).
Tonight's show has a bit of a mixed line-up bringing together a metal, hard rock and hardcore band. Fortunately in an order that I think works well, creating a nice build. THIS IS HELL the entree, FOZZY a main and ANTHRAX the bottle of well-aged scotch. I spent the days leading up to the gig listening to this Rdio playlist in anticipation. Hardcore bands make great opening acts; setting the bar and entwining it with barbed wire so everyone knows to jump higher. THIS IS HELL do exactly that with a brutal opening, I don't listen to enough of this stuff.
A bunch of guys (likely new fans) warm up with a quick mosh while the rest of the slowly growing crowd nod and tap along respectfully. But the set is short as these guys have a second Sidewave to play tonight (in high demand).
Being a fan of Chris Jericho's wrestling career (who here isn't, right?), I'm expecting a good performance from FOZZY, and despite listening to and liking their music, slightly dubious of their musical chops. I had no right to be.
Jericho is backed up by a pack of seasoned veterans, all experts of their instruments, backing vocals and putting on a fucking show.
Interaction with the crowd is a strong point, naturally they cop all the Y2J calls, but they love coming down under if just for the calls of FOZZY FOZZY FOZZY OI OI OI. It also didn't take long for Jericho to get amongst the crowd, unfortunately it wasn't with a frog splash from the top turnbuckle. But time for the big show: ANTHRAX.
Now honestly/embarrassingly my favourite work by ANTHRAX involved PUBLIC ENEMY, but only out of naivety from their own music. I'm also open to a change of mind.
Being their first time in Melbourne in years the fans were buzzing with excitement. On entrance the crowd roared as Scott Ian and co. pranced on stage, nearly as excited themselves.
The Hi Fi pit erupted like a volcano, bodies bubbling over the top of one another. Joey Belladonna was happy to rest his vocals as the capacity crowd covered most choruses for him.
Scott Ian owned stage right, strutting and showcasing why ANTHRAX make up a quarter of the Big Four (Two according to Ian).
Bassist Frank Bello looked like a rabid animal to the left. Touring drummer, Jon Dette, was getting a great workout riding across his massive arse kit. And introducing Jonathan Donais, guitarist of SHADOWS FALL, stoic up the back of the stage early but coming into his own late in the piece.
ANTHRAX has plenty of hits I didn't know I knew: ‘Caught in a Mosh’, ‘The Devil You Know’, ‘Madhouse’ and ‘I Am The Law’. They also fell on some classic covers with ‘Antisocial’ (TRUST) and ‘T.N.T.’ (AC/DC, which wasn't at all inspiring for me), in anticipation of the release of a covers EP, 'Anthems'. I'll be updating my playlists with some ANTHRAX this week.
Overall, a great night out. Three great bands we can scratch into a bedpost, sew a patch on a jacket or whatever else us lousy kids do these days.
Anthrax
http://anthrax.com/
Fozzy
www.fozzyrock.com/
This is Hell
www.facebook.com/thisishellnyPublished on Sludge Factory
After a week of questionable Melbourne weather it was good to see the sun managed to get him/herself a ticket to Soundwave in Melbourne this year. Traversing the public transport system got me to the Melbourne Showgrounds early enough to avoid any long queues and let me set myself of for what was sure to be a massive day. Unfortunately with a dead phone I either had to rely on luck in finding anyone I knew or go lone wolf. I chose the latter. My Soundwave was kick-started on stage 3 with Zebrahead playing to a reasonably small and mostly underage crowd. Vocalist Ali Tabatabaee stirred up the crowd quickly and saw me get involved in some early moshpit action, playing a lot from their latest album Get Nice! as well as an assortment from their extensive back catalogue. Zebrahead are seasoned veterans in crowd entertainment, throwing a lot of crowd interaction into their short set including inciting the crowd to cause themselves some damage in the moshpit, having the crowd all sit down then jump up to crescendo bridge, asking for the world’s largest circle pit and a Hawaiian mini-bar servant serving band members cocktails throughout the set. In all agreat fun set by Zebrahead, missed by most, but not me. Unfortunately Zebrahead running overtime meant I missed most of The Black Dahlia Murder over on stage 4. But what I did catch was a massive crowd rocking out to large, jovial frontman Trevor Strnad and co. blowing out waves of raging metal. Back over to stage 3 Unwritten Law came out banging. I didn't plan to stay long but couldn't resist hanging and rocking out to the likes of Seein' Red, Save Me, Lonesomeand Up All Night (song trivia: Up All Night was written by the band while on tour in Australia back in 2000). Sticking around too long meant I missed the start of Hyro Da Hero on stage 5, but my first introduction to the act live was the chaotic scene of band members bouncing off everything on stage, a guitar hitting the roof and Hyro belting out urban anthem Ghetto Ambiance (a personal favourite), no less than what I expected. The rest of the set was no less explosive, HYRO encouraging the crowd to enjoy the energy but keeping it safe for everyone, and ending in a mass group hug mid- Sleeping Giants.Realising (and kicking myself that) I'd missed GOJIRA, I took to the bar to get ready for my next stop, Meshuggah. Lines were huge in the main 18+ area so I missed all of HELLYEAH but caught some of Shadows Fall before the Swedes hit the stage. Weary of my aging body's limitations and the massive sea of bodies in front of stage 4 I resigned myself to the grand stand with a smoke and Canadian Club & Dry. Having not seem the band before I was interested to see/hear how Meshuggah performed live. I wasn't disappointed as an intricately detailed wall of sound washed over me with a delicate aggression I'd never really experienced from anything else. It was truly surreal. Mind blown. Snapping out of my trance it was time to explore the venue having limited myself to just three stages so far. Unfortunately there wasn't much happening and I found myself wasting time catching glimpses of Bush, Bad Religion and Limp Bizkit on the main stages; all putting on pretty lacklustre performances. I guess they have/had their fans but I can’t help but think I would have preferred fewer bands playing longer sets than reformed bands playing covers of their own music. Anyway, eventually it was time for my one trip to stage 7 for The Dillinger Escape Plan. Man, these guys can riot. It took all of 2 minutes for frontman Greg Puciato to climb the stage scaffolding, while guitarist Ben Weinman took to the top of the looming bass amps. The crowd was actually rather subdued for about five songs before DEP hit some older material that trebled the size of the rambunctious moshpit. Greg and Ben took to the crowd in the final songs of the set, creating a vortex of bodies holding them aloft as they swam across the moshpit. In all, another amazing live music experience. Needing another break (read: drink and cigarette), I kicked back as Slipknot did their thing. It was pretty impressive as they wound their way through classics and newer material, all 9 touring band members in full flight with all the vigour expected from years of watching their DVDs. Highlights included #3 (Chris Fehn) climbing the sound booth in the middle of the crowd, #1 (Joey Jordison) lifted and spiralling drum kit and #6 (Shawn “Clown” Crahan) bashing his keg drums with a baseball bat along to some flame blasts. As the night wound up I went for another wander catching Madina Lake putting on a show, something I didn't expect to be interested in personally but their performance sucked me into the joyful crowd. It was good to see bassist Matthew Leone back in action after the horrific attack he suffered causing great head injuries back in 2010. Moving on I found Watain setting the stage alight literally. Then Machine Head stepped up and did so metaphorically. After a long day I was easily distracted and keen to keep moving so I also caught some Black Veil Brides tearing up the stage in anticipation of Raised Fist topping off a great day. Amenities and services were up to standard. There were long lines for alcohol at times but that can be worked around for the highly organised, or just worn by the rest (most) of us and were no worse than any other festival in the country. Overall, a very well organised festival with plenty on offer for all types of rock, punk and metal enthusiasts. This year was a little bit late-90s, early-00s revival, some questionable acts but plenty of punters happy to live out their high school dreams and tick off their bucket lists. Published on Sludge Factory
1. Your new EP Wild Eyes is out now through Broken Stone Records, how did you go about writing and recording for this record? On the recording front, this album was recorded over varying lengths of time and in different locations. The single for this EP was recorded over a week, the other songs were recorded about 6 months prior. This is a product of the DIY approach. No deadlines… We're looking forward to spending 2 weeks with Liam Judson (from Belles Will Ring and producer of Cloud Control, Sister Jane etc.) in November. We wonder at what the focus of a schedule rather than sprawling infancy of the home studio will bring our of performances. On the writing front, that is happening all the time. At home or in rehearsals. For these two EP's there was a wide range of influence but We will be spending a fair bit of time in the lead up to November writing and demoing. 2. Wild Eyes follows hot on the heels of your previous releases You Will Tear Down Everything That Stands In Your Way (November 2010) and Blind (January 2010). How has your sound progressed over the course of two years and three records? We like to think that there is both consistency and development. The interesting thing about these releases is that they sit neatly together. A fair few of the songs were written around the same time and a lot of them were recorded together in a session we did with Simon Berkfinger (Philadelphia Grand Jury) very quickly. We were playing a fair few shows and the songs evolved, so we stripped back the recordings and re-approached the songs.Re-recording a fair few of them and writing others (e.g.: Wild Eyes which was written very recently). The EP's and their releases have charted that development, but they could very easily be listened to back to back. We have even toyed with the idea of releasing them back to back on 12" vinyl… 3. How does the band feel about the husband/wife combination within the band? I think they're ok with it. One of the band members is my brother, and the other is Lucy's cousin. So we could be considered a family band. We certainly have enough outsiders to give us some perspective… kind of. 4. Is there any truth to the speculation of title track Wild Eyes being (frontman) Jonathan’s ode to wife/keyboardist Lucy? No comment. 5. You’re launching your EP at the Workers Club in Melbourne and Good God Small Club in Sydney on the 24 and 27 July respectively. What can we expect from these shows? There is going to be a great lineup of bands at each show. Popolice (Teeth & Tongue side project) and Near Myth in Melb, and World Champion in Syd with some great DJ's: Je Suis En Rockstar and Rank Sinatra (Dark Bells). We'll be playing the new EP in full along with tracks from our other releases and we may have a special guest or two jump on stage. 6. Are there any plans to travel further in/around Australia? In the new year we will do an East Coast tour, until then it will be heads down thumbs up recording (save the odd support show here and there). 7. You recently performed as part of VIVD Creative Sydney and Playground Weekender, how was it being part of these bigger stages? Both shows were amazing and very different - Playground Weekender was a dripping hot humid late night show to a crowd of happy festival goers. We got to close the shack stage and everyone there had had a big long hard weekend of fun. Probably our most memorable show to date. Vivid was also an incredible night, but very different. It was a wet and slightly cold night in the metropolis but there were visualisations, art installations and we were playing alongside our label mates and great friends Caitlin Park, The Maple Trail and Sister Jane. On top of that there was a wide crowd of unfamiliar faces standing in the cavernous foyer of the MCA… something we could certainly get used to. 8. Any else that you would like to mention to your fans? Check us out on the web http://magneticheads.net if you can't get to a show and listen to our stuff at our band camp http://magneticheads.bandcamp.com . We've got a mailing list so sign up and we can let you know when our debut album is out. We're on all them social networks too so look us up! -jonPublished on The AU Review
Prog-rock/metal is strong but tonight is a showcase of Melbourne's up and coming breed with Jericco, The Eternal, Black And White and Aural Window. All have strong local followings so the venue will be crammed like a Japanese train carriage. Aural Window begin proceedings fresh from a recent tour of the USA and this is the first time I've seen them since changes from their original line-up. The music is remains consistent with one part oi-rock, one part operatic thrash and one part skater punk. And frontwoman Sheena Young demands the crowd’s attention with searing vocals and a strut I will avoid making a chauvinistic, overly sexualized metaphor for lest she cave my skull in with her foot. Tonight their set tight and punchy, playing tracks from their latest EP Cocoon and Epitropos, a few older tracks and introducing newie Candlelight in Georgia. Energy was also high but the band still seemed to be set in overseas mode often repeating the name of the band and once calling the crowd Melbourne (you live here with us, derr). Aural Window dedicated all CD and merch sales on the night to Japanese Red Cross Society and Japan Earthquake Animal Rescue and Support, so I chipped in for a bottle opener since I already have the EPs. Black And White bring a new style of old-skool nu-metal together with pop-synths and hardcore hooks to create a brand of alternative-but-accessible rock; like some weird hybrid of Tool, Pendulum and Hi-5. The crowd, including myself, are at first a bit more dumbfounded than engaged in the set, but it’s more a case of minds needing time to process these sounds and adjust to something new. It’s like white people listening to jazz for the first time, no-one knew what was happening. Frontman Ant Lewis bounces around the stage like the metal ball in a pinball machine if it had flippers along all walls - and the band does its best to keep out of the way. Chit chat between songs is witty as well, with Ant bidding the crowd farewell after the first song and running through all their online presences that apparently includes YouPorn, not that I’ve checked yet… Anyway Black And White have an amazing new sound and a killer live show that everyone should experience. If luck or God (or Ian ‘Dicko’ Dickson) have anything to do with it Black And White could just be our next big export. The Eternal are new to me, they play a more traditional hard rock spliced with a sociopathic aura, so like Tea Party (since the gig I’ve discovered that one Jeff Martin actually produced their latest album Under A New Sun) or Sir James Martin era Faith No More with plenty of roaring guitar, chugging bass, booming drums and dark vocals. They say they play something a little bit eastern and dancey but I didn’t really find their music either. But they do have a rather epic sound that deserves respect despite my indifference to the band. Jericco start out with sampled news lines from eastern world news reports, setting the scene for their brand of eastern influenced prog rock, like a less funky but more brutal Incubus. An early glimpse of a megaphone being passed around stage give a glimpse of what’s to come. The stage barely contains the band who hang off every edge and pillar available. The crowd has amassed and are only too happy to oblige to calls of action throughout the set, clapping and shouting when required. The night has sold out as expected but the crowd thins over the duration of the set which is disappointing. Jericco plays a well rehearsed set that includes fan favorites Sun, Always and Rujm (Pile of Stones), as well as newer tracks Cause and Effect, Chili and Safe To Say. They promise to leak new material until new album drops in 2012 and a live album was being finalised for release soon. A loud JER-IC-CO chant starts up after the band leaves the stage and upon returning for an encore the band comment that the stigma of Melbourne crowds standing back and doing nothing doesn't apply here. And then they grind out a final farewell. Jerrico Black and White and Aural Window play together again in Melbourne along with Life to Order on 25 June at the Curtin Bandroom. Be there. -jon
King Cannons are back home in their new home of Melbourne to celebrate the launch of their debut self titled EP, out on newly signed label and management from EMI Music Australia and Footstomp Music respectively. So tonight the stage is set at one of my homes away from home, the Northcote Social Club, with supports from Judge Pino and the Ruling Motions and Clairy Browne and the Bangin’ Rackettes. Not many people came early to see Judge Pino and the Ruling Motions, but it’s their loss for missing this amazing set of reggae classics. The boys are all suited up playing covers from all the greats such as Dennis Brown and Delroy Wilson. Their arrangements are brilliant with each instrument carefully complimenting one another with great layering and not much overlapping besides the skank. Each band member is introduced during different songs while showcasing their talents. Judge Pino and the Ruling Motions are an extremely fun band and well worth the trip to your local to groove along to. Later on in the night I met bassist Jarrit Waters (also MC/DJ Jwaters) and friends who had nothing but praise for tonight’s other support act Clairy Browne and the Bangin’ Rackettes… By the time Clairy and her Rackettes (who are totally Bangin’) hit the stage the NSC is a packed house with plenty of fans here to hear doo-wop and see go-go dancers in leopard print. They’ve a full band setup of drums, guitar, keys, bass and sax, along with Clairy leading vocals with aforementioned go-go dancers in support. With their original tracks Clairy asks for and delivers an ass shaking that would show Little Red how the 50s/60s really rocked. They then finished with an amazing medley that included the unlikely blend Salt N Pepper and Dolly Parton that closed the set with a Batman-styled KABLAM! Between sets (and a few darts) I ducked next door to 303 for some more Rasta-reggae from Ras Jahknow where a barefoot dance floor was pumping. It would have been very easy to stay there if I wasn’t so excited about the King Cannons, having tasted it when they supported Bedouin Soundclash earlier in the year. King Cannons jumped the gun kicking out hits Gasoline and Take the Rock from the outset, showcasing their heavy influences from The Clash and the like with pure aggression/passion. Tying in with tonight’s theme Life Goes On takes up the reggae vibe of the night. Frontman Luke Yeoward stands a commanding presence front of stage, barking orders like an army sergeant but with moves (and hair) as slick as a BP oil spill. Guitarist Rob Ting makes big sounds despite is relative size, bassist Jonno Smith has many females fans in the crowd from my observations, while keys player Michael Ting creates chaos on his organ/harpsichord-sounding keyboard. Drummer Josh Matthews and percussionist Lanae Eruera run the beat (with some awesome cowbell action) and bring an ultra percussive sound on some tracks, especially when Michael joins in. With a good percentage of the crowd sharing King Cannons’ New Zealand heritage, it helps solidify Melbourne as their new home. But it also allows the band to be inspired by a oz rock sound on new track Shot To Kill. A more mellow song inspires a few lighters to strain (but luckily don’t break) the smoke alarms patience. But then they turn the power up again for a riot in the mosh pit for Teenage Dreams. Closing out the night King Cannons ask Clairy Browne to join them on stage for fitting farewell with a cover of Ike and Tina Turner’s Rhode Island. Back at 303, Rasta Unity continued my reggae-themed night and finished with PBS’s Babylon Burning host Jesse I spinning discs into the night. -jonPublished on Sludge Factory
Mother and Son are a self proclaimed garage surf-a-billy two-piece, consisting singer/guitarist Bodie Jarman and Mat Teudt on drums, both hailing from Wollongong, NSW. Their self titled debut album is out now on Impedance Records having been recorded and mixed by the band and mastered by Loki Lockwood at Spooky Records. I've seen these guys live and was hugely impressed with their frantic set so was keen to get my ears on this album when I heard it was out. I've also seen a few accolades thrown their way ( Beat Album of the Week, SYN's The Hoist Album of the Week, Edge Radio Recommends and various other good reviews) so my interest is well and truly interested. Opener Mosquito sets a steady, drudgy pace and quickly builds up before it's over and the segue to Dengue Fever is complete. It's so tight I wonder why it's even two songs (as you'll notice in the video clip below). Both are guitar-riffing instrumentals supported by some plodding drums. Dead Yellow Moon is one of the bands leading tracks and has already picked up some JJJ airplay. It's a janglely guitar, screeching vocal track that might win some Jack White fans over. The other track they're spruiking is It Won't Be Long which goes even bluesier swapping the screech for a gravel-coated voice and guitar riff that your head won't be able to stop chasing. Central tracks ( Hanging Tree, Creature From The Swamp and Savage) Mother an Son go for a more swampy feel, holding to the overall vibe of the album, and it's here where I think the band really shows it's strength and make up three of my favourite tracks on the album. The tempo is tempered, vocals wail like a man dying slowly from the black death while guitar and drums paint a dingy, bleak backdrop. Mat's drumming and Bodie's guitar can both be a bit patchy in places, and although it sounds like they've gone for a raw (garage) sound with this record, another take or two for these parts might have been less jarring. Surfswing is where the surf-a-billy comes in, and it's a really cool instrumental track that the Reverend Horton Heat would love grooving to. Redcoats is a long slow creeper that's more depressing than all your boy/girlfriends breaking up with you at once (so my most favourite track). South of the swamp you'll find Johnny Boy, an acoustic, evil, country song that doesn't fit the album very well. Completing the album is Closing Theme which does a good job of doing just that with easing the album out slowly like the credits of your favourite soap. The packaging is a simple folded card with slip inserts printed in a sepia brown depicting a bunch of old cars parked around an old tin shed. It looks something you'd expect in an 'outback being chased by murderous hicks' type movie setting. Mother and Son's self titled debut is a solid record with some great moments but lacking a little slickness to make it stick for me. Do catch their live show though because it's this album much faster, more chaotic and heaps of fun. 3 stars Published on Sludge Factory
Big night tonight with The Bronx and Fucked Up sidewave (seriously cutting back clashes I was expecting the next day at Soundwave) with partly-local lads Coerce in support. So after work I swing by a friend's going away gathering in North Melbourne, my ninja-like public transporting skillz got me to the Corner just in time (after a smoke and spotting The Bronx stalker/groupie @emkeezy) to catch the opening song of Coerce. Coerce are playing to a pretty paralysed crowd (taking easy for a big day at Soundwave I assume) but their set is amazing. They don't pull any punches, they slap a wall of sound at you, juggle call and response vocals between members and are just plain awesome. Bulmers cider stubbies (yeah the big ones) are going down a treat tonight and after finding some friends on the rooftop we spot Tim Rogers and discuss whether he's here for The Bronx or Fucked Up. For the record I was for Fucked Up, as much as he'd look at home in LA I reckon he'd go more for some crazy canucks. Another drink and I find a leaning pole beside the sound desk. I hear some droning guitars and the curtains are pulled back to reveal Fucked Up kicking off Twice Born. Singer Pink Eye is shirtless by the end of the song and has barely been seen on stage (which doesn't change for much of the set). Magic Word is next and crowd surfers are already scooting over an audience split by Pink Eye's trail. He even made it as far as the door to the male toilets before finding the lighting guy beside the sound desk and jumping on his back (eek!). By the time he returns to stage he's managed to wrap the entire length of his mic cord around his head. The rest of the band are fun to watch (since Pink Eye is lost in the crowd). 10,000 Marbles and Gulag hold the wings strutting guitars, Mustard Gas the hot bassist swaying wildly center stage with Mr. Jo pounding skins up the back. They play some new tracks which they claim to be still working on (they sound just the right amount of chaotic and destructive to me). Apparently Trash Talk and Kylesa are in the crowd so they get a shout out before breaking into Crooked Head. Pink Eyes at some stage yells “Shut up I'm trying to think” before mentioning that he now has a child so that proves he's had sex. The set comes to an unfortunate end but it's been a great night so far, with the crowd now totally hyped up THE BRONX should be set for a corker. There is a crowd lining the bar (not ordering drinks) which sucks as I have to squeeze past to grab another drink and head upstairs for another smoke break. I slide my way up to the right of stage to get into the action for The Bronx and intermission music includes NWA which at least fits geographically. Singer Matt Caughthran come on grinning ear to ear, he remembers last time, as do many in the crowd, and everyone knows a fun night's in store. Opening with Knifeman followed by Inveigh the crow goes ballistic and already sees Matt throw himself to the chaos. The full lineup is here with Joby J Ford and Ken Horne on guitar, Brad Magers on bass and Jorma Vik on drums. All seasoned vets now they know Matt loves to hold the attention so they give him a relentless blast of sound which gives him all the energy he needs to work with. There's some new material on display as well as a healthy dose from previous releases, especially III. Matt tells the crowd the festival and sidewaves so far have all been practice for here tonight and how Melbourne is The Bronx's home away from home. He asks to see bodies and he gets them in spades as people come from everywhere to jump off stage, off the barriers, off Matt himself even. I'm worn out as the final sounds are pulled by the sound guy and as lights flicker on the sweat drenched crowd head home for some sleep before a big day at Soundwave the next day. -jonPublished on Sludge Factory
Plan B at the Prince Bandroom tonight and I’m running on… well nothing really, I’m barely able to keep my body upright after BDO on Sunday and Deftones the night before. But I’m here and genuinely excited about the upcoming show… underneath my jaded gaze I guess. Fittingly I met a group of British ex-pats downstairs having a few drinks before the show and they were amazed that I even know who Plan B is, let alone that I have his previous album Who Needs Actions When You Got Words. So it shows just how much his stocks have risen since then that he’s now an international superstar and regular Video Hits guest (three times for three different reasons I’ve seen him being interviewed by Dylan Lewis, and I’m rarely awake in time to watch the show). So anyway, I spot Paris Wells out the front with a pre-gig coffee, probably feeling as brilliant as I am at the time. Paris is a great support choice for Plan B. Tonight Paris is playing a DJ’d set and it’s a bit flat, perhaps she really is feeling as bad as I am and it’s unfortunately showing/sounding. It’s a shame because I’ve seen her blast a crowd away full a full band and I feel this might have been a missed opportunity to tap Plan B’s fans and get herself a Video Hits spot from it. Highlights were towards the end of the set with Fuck Your Soul (apparently about rappers ex who didn't like her), Jenny (new video coming out in a few weeks), and Let’s Get It Started (which Plan B asked her to do tonight). I'm certain she'll blow faces off at her upcoming slot at the St Kilda Festival though. Before Plan B hits the stage he’s brought over a beatboxing collaborator to help kickstart his show. He does a quick, fun mash of tracks like Triple J hit Duck Sauce’s Barbara Streisand and Ginuwine’s Pony and the crowd roar as they recognise each track. Hitting the stage with chart buster Writings On The Wall, Plan B has set the stage for a big night. Two guitarists strut the stage like the coolest cats in Chicago, bass and keys players remain stoic but ever-present, while the soulful back-up vocalists sway the groove. All look extremely dapper and hip in their faux-50s get-up. All this but Plan B seems a bit stiff, concentrating on his vocal delivery that doesn’t come as natural as his rap jive. But only a hipster critic like me would notice this, and as the set progresses he becomes more comfortable and the crowd swoons as he rolls out his slew of hits with The Recluse, Love Goes Down, She Said, Stay Too Long and Prayin’. After s short stint of stage the full band returns for a bit of karaoke time as they play a mash of Mo Town classics from Lean On Me and My Girl, to Stand By Me and Ain’t No Sunshine where with the latter two the beatboxer returns to lay a remix to the tracks. To add to his already highly regarded reputation, Plan B shows support for countryman James Blake with a rendition of one of his lesser known tracks before erupting into Seal’s Kiss From A Rose to a riotous crowd. The band responds with everyone starting up a grunge-like moshpit as bodies fly and collapse all over the stage, sans guitar defecation. All in all a top class show by a man at the top of his game. -jonPublished at TheDwarf.com.au
After a huge Big Day Out (partying Andrew WK-style in the searing heat) I’m backing up with the Deftones sideshow. Plenty of sugar needed in my drinks tonight. Opening acts tonight are Ministry of Sound toy boys The Only and human beat machine Reggie Watts. It’s a funny line up and not one I’d have picked given the deep pool of talent amongst Melbourne’s heavy rock scenes. Anyway, I missed most of The Only and so did most others based on the thin crowd early. Pity because from what I saw the right crowd could really get a rave on to these guys. Reggie Watts is much the same (in the under-appreciated stakes) and although I applaud his live show, it isn’t setting the right vibe for me. I must make note that his beatbox/electronic looping work is something to behold. Get on that next time he’s in town. Shit venue policy creates a line upstairs to the tiny smokers balcony, and everyone goes for a last few drags before Deftones hit the stage. And boy does the stage get hit. Vocalist Chino Moreno bursts onto stage behind the rest of the band tearing about like a multi-ball bonus on a pinball machine. The Sasquatch that is Stephen Carpenter shreds like a monster stage left. Bassist Sergio Vega struts all over the right and screeches like a banshee. And it’s all kept together with Abe Cunningham riding the crash cymbals and pounding harder than a porno. They were also joined by an unknown sampler on some tracks adding effects as required. Shortly into the set and the band break into my favourite album with Be Quiet And Drive (Far Away, My Own Summer (Shove It), Mascara and title track Around The Fur. I reckon Chino must have worn out his Chuck Taylor's over the course of this set the way he tore himself from wall to wall across the stage (which includes a platform at the front for him to prowl over his fold back). Chino serenades his crowd to Knife Party and they go as close to a ballad as Deftones can with Minerva and later Change (In The House Of Flies). Some shit bloke holds a camera in front of my face to make crap amateur clip for him to whack off to at home. Keep your voyeuristic fetishes at home people, don’t rip off the band and steal space on our stomping floors. But enough gripe. The only ting shared between the band and crowd so far has been music, riotous applause, an experience and some bodily fluids but Chino takes a few seconds to take note of the leveled venue (they are a “5 level band now”), chugs a beer and gets on with it with a short beatbox skit with the drummer. They close with a Diamond Eyes followed by a prolonged feedback session from Carpenter before erupting back on stage, or into the crowd for Chino to give a last hurrah before calling it a night. I always love a strong finish without the lame encore wait. Tomorrow I’ll have a sore neck to add to my dehydration and overall exhaustion. -jonPublished at TheDwarf.com.au
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