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Something For Kate at The Gov

5/28/2013

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A sold-out Gov on a Saturday night was the scene that was in store for Melbourne rock act Something for Kate and their support Courtney Barnett for the Adelaide leg of the Star-Crossed Cities tour. It just so happened that lead singer Paul Dempsey was celebrating his birthday that night also, so expectations were high for a gig to be remembered fondly.

It was up to Melbourne's indie pop songstress Courtney Barnett and her band (the Courtney Barnetts, true!) to get the night underway, which they did quite admirably. Her band included the standard drums, lead and bass with Courtney herself on rhythm (she played it left-hand). Their set lasted 45 minutes, which was certainly time well-spent, as each slow-burning song was played right out to the end. Her laid-back, world-weary vocals were well matched with the music, which at times invoked memories of Nirvana (Polly) and Bowie (The Jean Genie). Having driven over from Melbourne on the day, only to drive back again the next day, I bought their EP to help with petrol money, as Paul was to later ask of us. Apparently there's a new EP due out soon which will feature History's Eraser, their new single that's been played on the J's of late.


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After a little bit longer break than normal, the owner of one of the best instruments (Paul's voice) in Australian music and his band Something for Kate made their way on to stage for Paul's birthday show. For just over 100 minutes we were treated to an inspired Paul in fine voice, ably supported by Stephanie (bass), Clint (drums) and for one night only Pip Branson (guitar, violin), straight off a plane from the UK. Starting with a song off their 1997 debut album, Captain (Million Miles An Hour), the punters were primed from the outset. The acoustic numbers Paul did on his own were highlights, especially Asleep At The Wheel. Other notables included a couple of my favourites from years gone by, Monsters and Cigarettes And Suitcases. Songs off their most recent album Leave Your Soul To Science were also great, especially Survival Expert. In all honesty though, I'd walk 10 miles in the driving rain to hear this bloke sing Mary Had A Little Lamb!

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After Pip got the crowd to sing Happy Birthday "to one of the real gentlemen in music", and there was cake and Cooper's Pale, they launched in to a real party song: Rock The Casbah, which they'd done for Like A Version some years ago, and were obviously still quite familiar with (notwithstanding Pip trying to give us another "Sharif don't like it" where it wasn't required!). Paul came out on his own initially for the encore giving us another cracking acoustic tune: Truly, then was joined by the rest of the band and finished off with Pinstripe, to close as Paul suggested, a truly "wonderful evening". Very well played by all, and a damned fine way to spend your birthday, I’d suggest. Absolutely brilliant gig.

Review by Paul Chivell
Photos by Melissa Donato. Full gallery can be seen here

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Deftones, Letlive and Hyro Da Hero at HQ

5/22/2013

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Hyro da Hero was first on the bill and it was quite apparent that not many of us new who this guy was. But Goddamn! What a treat! He rapped faster than Ludacris, with a de la Rocha style and his DJ was right there fucking shit up along with him. They both had us bobbing our heads, letting us all forget that the majority of us in attendance were just a bunch of Caucasian Hessians. He only got to bang out about 4 songs but it left an impression on all of us. Keep an ear and eye out for Hyro because this lad is truly an amazing artist. This was ruthless and clever hip hop and it was obvious why The Deftones had this cat open for them.

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A Jameson's and a smoke and then back to the Mosh I went to witness the coming onslaught that is Letlive (and that's putting it mildly!) The band took to the stage and manned their weapons, then out ran Jason Butler (lead vocals and the last original founding member) arms and legs akimbo. Christ, I've never seen a white guy jump so high!! He leapt over security and landed on the speaker stacks some 6ft away and 4ft higher than where he began - all this with mic in hand and belting out a tune. Seriously, I reckon I'd have to snort ten lines of coke just to be on this dudes level when he's asleep!! He was truly a sight to behold. I remember thinking to myself  'ah yes, this is where Punk Rock went'. Maybe the reason why Jason is the last original founder is because the others simply succumbed to exhaustion trying to keep up with him! Needless to say, the men who made up the rest of the band just took it all in their stride. They've obviously lived through this tempest quite a few times together and let the madness ensue, culminating  with Jason doing a front-flip-back flop onto the drum kit, then a barrel roll over his kneeling lead guitarist who was busy scratching the mic along his strings and making an awesome racket! I should name a few of the songs they played but who gives a shit, they all ripped, and Letlive is officially my new favourite band! Thanks be to Chino and the boys for bringing them with.

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So here I am, happy and humbled by the nights events thus far and blessing my good fortune for being able to attend this gig. I stumble up the blue LED lit stairs of HQ and make my way to the bar.  I caught up with an old mate who told me that this was about to be his 7th time seeing the Deftones. Fuck man, I've listened to these guys since I was a teen and I'm about to see them for the first time. We geeked out on this, but not for long because out they came. The sons from Sacramento, the storm makers... The Deftones!!!!

Moreno is so damn cool, a big lovely smile on his face while he inspects his troops.  Starting off with Rocket, they firmly set the hook in our mouths and away we went. The set list was a full variety spanning from old to new with songs like Knife Party, Swerve City and the very sexy Change. Chino would suck us in and bring us close all warm and fuzzy like, only to have Cunningham and the lads kick us straight in the teeth when the beat dropped. It was an emotional ride!


It's very easy for a band to be placed in a certain category of music, but its fucking amazing when a band creates that category to begin with. The Sex Pistols did it, and The Deftones are continuing to do so. Nu Metal from back in the day - what I'd like to call just plan old 'Fuck Yeah!'  

"The Deftones, I'm not familiar with them, what kind of music do they play?" - "FUCK YEAH!"  I'd exclaim!  

"Oh, word! I love FUCK YEAH. hook me up!"

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These guys blessed my eardrums for the first time over two decades ago when I was a senior in high school in New Mexico. And it truly is a testament to these gentlemen that the crowd roared and frothed over their new stuff just as much as their old. Case in point - Poltergeist!  That's a secure future kids and it was so sick to see people half my age loving what I was addicted to when I was their age.  What a band, what a beautiful noise. Chi, we miss you amigo...


Review by Beau Williams
Photos by Melissa Donato - Full gallery can be seen here

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The Bronx, DZ Deathrays and Hightime all rocked Fowlers Live!

5/6/2013

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For the past 5 years LA band The Bronx has donned the sombreros and recorded mariachi music under an alter-ego Mariachi El Bronx. Whilst the 5 members graced the Fowler's Live to the refrains of Mexican horns (choosing Motley Crue's Kickstart My Heart instead), their electrifying set consisted purely of the brutal hardcore punk that initially brought them fame and fans. Their divergence into a more melodic genre, however, has left its fingerprints on the bands current sound, as heard on their 2013 eponymous release (The band is not a fan of naming their albums, with all four releases being entitled The Bronx). The 2013 Bronx retains the energy of their previous releases, but they have added catchy hooks, riffs and melody to their arsenal.

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The band opened their set with the anthemic opener from the new album The Unholy Hand. The crowd sang along to the chorus of Are you the anti-Christ or the Holy Ghost, do you wanna die or come real close?. From the opening riff charismatic lead singer Matt Cauthghran began bouncing and convulsing like a death row inmate strapped to an electric chair on pogo sticks. His engaging stage presence and antics are perhaps one of the highlights of their famed live performances. Cauthghran amused the crowd with an anecdote about his hatred for faux rocker Jarad Leto (of 30 Seconds To Mars fame), who he encountered when last in Adelaide on the BDO tour. He then launched himself into the crowd whilst singing Six Days A Week, before being gently returned to the stage by a sea of flailing hands, losing his shoes in the process. Whilst re-lacing his shoes, the band amusingly provided some impromptu dressing music. Punk rockers, he explained, don't perform without shoes. You know who does? Jarad Leto! 

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The band played selections from all of their previous albums, including Knifeman, White Guilt (complete with early 90s lead guitar solo, long hair gently blown by a fan, shirt unbuttoned to the naval), as well as many offerings from new album, such as Ribcage and Valley Heat. The latter song was dedicated to the heat only experienced in the Valley, a claim that attracted the retort of 'bullshit' from a member of the crowd who was clearly proud of Australia's scorching climate.

Perhaps the most fervent response from the crowd came when the band played a song dedicated to all of those that have been left behind, Heart Attack America. Towards the end of the set, a sweat soaked Cauthghran joked he could play for another 2 hours, drawing a cheer from the crowd. Given the intensity of their show, however, the encore only went for two songs, which was enough for a crowd more covered in sweat than the band. 


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Earlier in the night, Aria award winners DZ Deathrays played their unique style of two piece electro-metal to an appreciative crowd. The band played a few new tracks, but drew heavily from debut release Bloodstreams. 

Local outfit Hightime won over the early arrivals with their fusion of punk, reggae, roots and more. The diminutive female  lead singer, Nina, possesses a mighty set of lungs which she employed to release mighty screams, whilst her clear vocals featured a distinct Aussie twang which was nice given that this isn't always the case with punk music. Their performance encouraged one enthused fan to inquire "who are you?" If they keep up these live performances, they won't need to tell crowds who they are for much longer. 



Review by James Murphy
Photos by Melissa Donato. Full gallery can be seen here

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Tool at Adelaide Entertainment Centre

5/3/2013

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There are those who understand Tool, who know that this musical empire are about more than just making sound. With an art graduate turned interior designer, a metaphysics student and special effects engineer working together as the backbone of the renowned quartet, there was always going to be a lot on the table in the house of Tool. Throw in a well sculpted, creepy alien head or two for good measure and voila, you have the method that’s kept them going strong for over two decades now – commanding your attention for you to observe and contemplate.

They may have been a day late, but soon enough, it was time for Tool. The band were last in Australia headlining the 2011 Big Day Out, and even though there hasn’t been a new release since then, the turnout for their Adelaide show was massive. Tool is as much a visual experience as they are a musical one. Being immersed in their spectacular light and video show adds so much to their performance, making well worthwhile the effort to see them at a headline show rather than a festival.

Opening with ‘Vicarious’ off of their fourth album ’10,000 Days’ the band wasted no time in sending the crowd into frenzy. If there’s one thing that can be said of Tool fans, it’s that they’re a passionate bunch. The GA area of the Entertainment Centre was packed out, with thousands forcing their way to the front as the opening bars broke out. Those who have seen Tool before know they are not a band who are big on crowd interaction. There’s very little banter between front-man Maynard James Keenan and his audience, although he did have the good manners to apologise for being “late”. 

The set was a proverbial ‘best of’, featuring fan favourites such as ‘Pushit’ and ‘Lateralus’. After a short intermission, Danny Carey welcomed us back with a thunderous drum solo. Carey truly is one of the greatest drummers to ever grace the stage. His endless energy and unique style makes what could be a tedious interlude, an exciting and enjoyable addition to the show. The remaining members of Tool (plus a chicken on Maynard’s arm) returned to the stage to perform a crushing rendition of ‘Jambi’, followed by ‘Forty Six and Two’ and ‘Ænema’. As the show went on, the visual aspects grew more spectacular. A giant disco ball hung in the middle of the mosh pit, lasers pierced through the darkness, and smoke filled the room, as the bizarre imagery Tool are known to be associated with played behind the stage.

After an encore of ‘Stinkfist’ Maynard waved his farewells and left the stage, while the remaining three members of the band stuck around to thank the crowd for their attendance and enthusiasm.

Tool do not do anything by half measures. The lack of crowd participation and stage antics is more than compensated for by the fact that everything else going on during the show is a visual feast. The quartet sound as good as they ever have, and by the end of the night, there wasn’t a sour face to be seen.

Let’s hope next time Tool visit, they have a new album to wow us with.

Review by Sofie Marsden and Rebecca Grant

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