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Life Pilot launch their new EP at Enigma Bar

6/28/2014

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“I’m here to hear good bands, drink beers and throw punches”. 
Being a virgin to a night at the infamous Enigma Bar, overhearing that in a bathroom stall gave a good indication of what I could expect from the night: heavy music and heavier mosh pits. The heavy music being featured tonight was from Life Pilot, who have made a solid fan base over the course of their short career, and they were in full effect on Saturday night, ready to get down and throw down.

Starting of the night was local band All That I’m Asking, who brought bit of a hip-hop inspiration to their abrasive hardcore punk sound. This was only amplified when the band jumped into a cover Kanye Wests “Black Skinhead”, the band playing with a great sense of rhythm, only being bogged down by vocalist Liam Wytkins’ tendency to switch between clean and distorted vocals a bit too frequently. Never the less, All That I’m Asking ripped through their set with a great energy, particularly on the song 'Rosemary', a dedication to Wytkins’ deceased grandmother.

Following on from ATIM was At Fates Mercy, a band who quickly showed that they were much more experienced than the opening act. Despite the fact that vocalist Ben Cox couldn’t move around the stage too much due to a leg injury, the band played through their 80’s metal influenced set with a ferocity of a band who knew their sound. Their guitar melodies were strong and bright, seemingly inspired by emo bands of the 90s and contrasting well with their metal sound. Despite his injury, Cox’s powerful and versatile voice stood above the rest, announcing himself as one of the best vocalists in the room.

The first and only disappointment of the evening came from One In The Chamber, announcing that it was their final show. But they didn’t let that fact get them down because One In The Chamber brought the most high-energy set of the night, being the first band on the bill to truly send the crowd into frenzy. They blasted through their 80s hard-core punk inspired set with a juvenile energy, truly unhinged and ready to cause chaos. The band not only invited crazy crowd behaviour, they damn well created it, tossing around the microphone like a tennis ball and the lead singer diving into the crowd, being swung around like a hula-hoop by man who looked like he just walked out of a corporate staff meeting, who ended up playing bass. The band's thunderous energy only really faltered when they spontaneously jumped into a cover of Nirvana’s 'Breed', with their heavy sound not really meshing with the song, but they could easily be forgiven for playing it so sincerely.

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Not to be outdone by One In The Chamber, Life Pilot took to the stage, trying live up to the last bands claims that they were “the best hardcore this side of your mum’s bed.” Sure enough, they proved that statement tenfold. Life Pilot played through their headlining set with the confidence of a band that had found their sound, bringing a unique sound to a genre that gets bogged down in clichés and a lack of creativity. Their big guitar riffs which were savage but no less memorable blended well with their thrashing rhythmic sound that didn’t lose any steam by the end of the set, even though band were visually exhausted (guitarist Tim Lawrence nearly passing out by the end). The band's track ‘Hightide’ was easily the standout of the set, Angus Long’s bloodcurdling vocals truly being the highlight.


If you stuck around long enough to catch Jack The Giant Killer's closing set, you would have been treated to a band who are still trying to refine their raw and aggressive sound, but by then the highlights of the night had already passed. All That I’m Asking and At Fates Mercy proved that the Adelaide hardcore scene has some good up and comers; Life Pilot presenting their case for being one of the best Australian hardcore bands on the circuit, and One In the Chamber standing by that LCD Soundsystem mantra: “If it’s gonna be a funeral, let’s have it be the best funeral ever”. All I can say about my first night at an Enigma show is that if every night is as energetic as that, I’ll be coming back.

Review by Noah Ward.
Photos by Yvonne Sears. You can view the full gallery here.

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Hell City Glamours play their last show in Adelaide

6/28/2014

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Hell City Glamours are having one last drink for the road and fortunately for us Adelaide was included on the farewell tour. After 12 years, of which can only be described as an illustrious career, the four mates from Sydney have decided to call it a day. With 2 albums, 3 EPs, and countless shows around the country and overseas, which saw them gracing stages with musical luminaries such as the New York Dolls, Sebastian Bach, The Angels, Paul Stanley, Alice Cooper, Living Color, Rose Tattoo, LA Guns and Brides of Destruction, they have achieved more than most independent touring bands can boast. So it’s time to charge our glasses one more time and raise a toast to H.C.G. as they take a final bow.

The local hard rock/glam metal scene is a thriving niche that is always well supported by both punters and bands alike. Arriving early at the Crown & Anchor it is evident that tonight is no exception; the front bar is already standing room only despite the atrocious winter conditions outside.

First up on tonight’s line up is Laced In Lust, who look and sound like they just sauntered off the sunset strip circa mid 80’s. They played a great set of energetic hard rock that would have not looked out of place at the Whiskey or Rainbow in L.A. They drew heavily on tracks from their latest EP 'Firing Lines', including the title track which is currently sitting at # 8 in the local top 20 charts. The combination of big riffs and catchy choruses warmed the crowd up nicely on a cold winter’s night.

Next up was more local talent in the form of the Infidels. After listening to their 'Sinner Street' demo I was eagerly anticipating catching them live and was not disappointed. While Lace In Lust paid homage to the L.A. scene the Infidels had more in common with the Bay area metal scene of the 80s. Old school riffing, powerful vocals and a chunky backline that was brutal at times but all kept in check with great sense of melody. The Infidels certainly raised the temperature in the room a few more degrees.

So long, farewell, auf Wiedersehen, good night, this was Hell City Glamours last hurrah and the Cranker was at capacity to say goodbye. Having included Adelaide on every tour since 2005, the band has built a loyal following who came out to witness H.C.G. one last time. This was less of a show, more of a celebration that dangerously teetered on the verge of becoming a party at times. The set list was pre-determined for three quarters of the show with requests from the crowd closing it out. At various times members of both support bands graced the stage to back up the band, a testimony to the endearment Hell City Glamours have made with both audiences and the bands that have played with them. As the final notes of 'White Trash, Hot Love' reverberated through the crowd, I am sure most walked away hoping this would not be the last time they play live. 

Review by Mike Trandafil.
Photos by Zayla Attard.

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The Rampage Tour tears up Fowlers Live

6/28/2014

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Thursday night saw The Rampage Tour bring a riotous selection of Australia’s favourite metalcore and hardcore acts to Adelaide. Set to be the hardcore event of winter, the loaded line up co-headlined by Australia’s hardest touring band, Deez Nuts, and Melboune’s finest metalcore act, Confession, rocked out Fowlers Live and certainly did not disappoint the legion of hardcore enthusiasts who attended. A coin flip prior to the gig determined who would close the show, changing it up every night to keep it fair and keep the tour feeling fresh.

Now it is no mean feat to warm up a hardcore Fowlers’ crowd, but metalcore band Our Conquest managed to get heads bobbing. Despite a few of their songs being repetitive with drop after consecutive drop, their single ‘Ghosts’ was clearly a hit, getting everyone on their feet and swaying their heads.

Hailing from Melbourne, Thorns took a more laidback delivery, primarily allowing the music to speak for itself. However, what the band lacked in stage presence the crowd made up for in their boundless enthusiasm, certainly erupting the pit with flailing limbs and stomping feet.

Sydney hardcore group Hand Of Mercy were a surprising highlight of the night. After losing their lead vocalist, The Rampage Tour marks the first time Nick Bellringer took the reins. Playing a varied set including ‘Sick With It’, Nick proved he is a valuable addition by showcasing his killer vocals, engaging in playful banter with the crowd, getting amongst it, and sharing the microphone around. Sharing a new single can be daunting, however the crowd responded positively to theilatest off their upcoming album.

We haven’t seen Confession since their appearance at Vans Warped Tour in December last year, but since then they have recorded a new album and May marked the release of their latest single ‘Fuck Cancer’. The Rampage Tour has undeniably proven that despite multiple changes in the band’s lineup, Confession are still delivering first class metalcore. Front man Michael Crafter was donning his signature camouflage and got deep with the crowd, exchanging harrowing details of his personal life to great reciprocal exclaims of “FUCK CANCER!” from the crowd. Confession proved that metal with meaning is still well and alive.

As the winner of the nightly coin flip, Deez Nuts closed The Rampage Tour in Adelaide. The anticipation in the audience was palatable in the short wait before the headline act. As Deez Nuts took the stage the crowd surged forward and were greeted by the charismatic JJ Peters. They brought their unique infusion of hardcore rifts, unifying lyrics, party-worthy beats and a commendable ‘no-fucks-given’ attitude. Anthems such as ‘Stay True’ and ‘Your Mother Should Have Swallowed You’ rocked Fowlers Live. They finished their set with their latest single, ‘Band of Brothers’, to the most riotous and involved crowd who were screaming the chorus, headbanging and some even wrapping their arms around one another. A killer moment to wrap up a rager of a night.


Review by Isabella Carbone.
Photos by Eleanor Johnson-Firth.

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An evening of electro-pop with Safia and friends.

6/24/2014

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Electro-pop Canberra trio Safia wrapped up their debut Australian headlining tour in support of their EP over the weekend in Adelaide venue, the Pirie & Co. Social Club. This was their second visit, after officially opening the locale with Elizabeth Rose months before.                                                    

Safia’s first support act, locals Problems, took to the stage around 9:30pm and welcomed the early crowd with warm electro-pop from their debut EP, 'For The Ages'. They’ve only played a handful of shows but they sounded tight and matched the relaxed feeling of the venue. 


The night’s second support, Tasmanian musician/producer Akouo, brought a Flume-like sound mixed with hip-hop to the ever-filling dancefloor. He blended dreamy pop from his EPs and remixes before Safia were welcomed on around 11pm by a packed venue.

They opened with 'Ghosts, Paranoia & Other Sounds', setting the crowd off on a dance party which didn’t wrap up for over an hour. Although it was a tiny stage, vocalist/keyboardist Ben Woolner jumped around happily, and Michael Bell (drums) and Harry Sayers (guitar/synths) were comfortable, smiling and laughing throughout the entire set. Notable songs included the infectious instrumental 'Mercury', and a remix of The Aston Shuffle’s 'Tear It Down', which both proved popular with the energetic crowd. They premiered a new song which could possibly be on an upcoming EP, or hopefully, could appear on a debut album. Unsurprisingly, the crowd responded to it like every other, not caring for its unfamiliarity. The night finished with their other signature single, the unique 'Listen to Soul, Listen to Blues', which was sung and danced to with as much enthusiasm as Ben himself.                                   

It is not hard for a band to make their audience sway or sing, but they need to be something else to make the dance floor move to every track. The venue was perfect for Safia, although they could have done with a bigger stage to express their energy. After selling out most of their first headlining tour, and opening for Lorde on her Australian tour next month, it looks like Safia’s future is just as exciting as their stage presence.

Review and photo by Kirsten Mooney.

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California Cousin live at The Gov.

6/24/2014

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The Gov supports all kinds of music and the energetic, young local band ‘California Cousin’ are no exception. This gig was in aid of their new single, ‘Black Eyes’. Doors opened at 7:30 p.m and the show began with ‘The Garlic Twitch’, a young comedian fresh to the Adelaide scene. After this interesting choice for the first act, California Cousin graced the stage. Watching the relaxed ease with which they played together, I realized they must be family. Singer Stephanie Ann’s playful stage antics bounced off guitarist/ singer Josh David, and drummer/singer Daniella Lee Dolla’s professional delivery, as if they were relaxing at home. This slick trio used backing tracks and added bass guitar to deliver a polished performance to their fans, some of which were wearing California Cousin t – shirts. Yes, the merchandise was flashy! There were t-shirts and CD’s for sale, and an opportunity to redeem some of the ticket cost by becoming a California Cousin member, and receive two free singles as thanks.


California Cousin made full use of the onstage projection and even showed the clip for their newest single, ‘Black Eyes’ as a back drop to play against. The fashionably presented trio had all the cameras flashing at their understated style and smooth delivery. They presented as a tight knit group and played a variety of original poppy rock tunes, with a stand out cover of (the artist formally known as? Or just good old) Prince’s 'Sign O The Times', which got the audience moving. The crowd seemed to be from all walks of life, young and old, and all seemed to really enjoy the performance. California Cousin fed off the interaction from the audience, at one stage asking them to come up closer and dance for the band. There wasn’t too much stage banter or posturing, California Cousin seem to be genuine in their fun approach to rock, and looked like they really enjoy what they do.

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Review by Zoe Mitchell.
Photos by Dean Johnson. You can see the full album here.
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The Paper Kites blow into town.

6/24/2014

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On Saturday night, The Paper Kites made their highly anticipated return to Adelaide.

The opening act, Airling created an aura that set chests thumping from the vibrations of the speakers. With Hannah Shepherd’s intoxicatingly emotional voice, a presence of sweet innocence was projected into the audience that set an openhearted mood for the rest of the night. The following soloist Phebe Starr came on, armed with an alternative appearance of fiery red hair and black lipstick, however she livened the crowd with her pulsating beats and defying voice that captivated everyone’s attention. These two performances executed an intriguing introduction for the main act of the night.

As The Paper Kites sauntered on stage, the crowd cheered enthusiastically for the band they’d all come to see. The introductory song laid focus on band member Christina Lacy, with her angelic voice beaming into the dedicated fans that stood before her. The lead singer, Sam Bentley, harmonized with Christina throughout their set, their voices combining perfectly.

The two singers shared the spotlight as the night progressed; each presenting individuality that one could lose themselves in. The distinctive guitar strumming produced serendipity that made my eyes close and chest beam with clarity. The band acted as a gravitational pull directed towards the crowd: the closer you were to the stage, the stronger the force of adrenaline was transmitted.


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As the set graduated, the applause and shouts increased in decibels that rumbled the bar table I was sitting at. The attentiveness of Sam’s voice meshed with the detailed picking of his guitar whenever he would slow down the night with his acoustic solos. These pieces hushed the crowd to the lowest level it ever was throughout the whole night, his lyrics enveloping the audience into a musical surrealism that was pure and soulful.

The night wore on and people became more and more intent with The Paper Kites’ folk-indie style, including guitarist Dave Powys’ riffs that drew eyes staring in admiration. The crowd recognized the song ‘Woodland’ from their first EP, which could be seen through the joyous essence that was generated from the crowd with numerous bodies moving in unison to the familiarity of the song. The following track ‘Bloom’ had the crowd singing along word for word with people whistling during the bridge with the lead singer.

The final song combined a classic drum rhythm and warped guitar sound that had the audience nodding their heads and tapping their feet collectively. As a first timer at The Gov, I was in awe of the performance and atmosphere surrounding me. The kaleidoscopic background produced a liberating and lively ending to The Paper Kites’ set, with multiple whistles and ‘whoops’ from the gratifying crowd as the band exited the stage, guitars and drumsticks in hand.


Review by Georgia Lake.
Photos by Dean Johnson. You can see the full album here.

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Adelaide rolls up for the Clowns of Decadence.

6/21/2014

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Roll up, roll up, roll up, the circus is back in town. Clowns of Decadence, Adelaide’s own purveyors of fun and frivolity have broken their self-imposed hiatus and returned to the big top for another round of mayhem. Reforming in 2013 after spending over a decade and a half doing grown up things, the Clowns have returned to dazzle the adoring masses. With their self-professed brand of “junk fusion” music and a visual spectacle to match they entertained the masses throughout the 90’s. A packed out performance at the Mid-Coast Festival in April showed that they still have a loyal fan base keen to relive the extravaganza that is the Clowns of Decadence.

If there is any doubt about whether the Clowns of Decadence are still relevant after being missing in action for all these years it was quickly erased tonight. Despite the fact that it was a cold, wet, miserable Adelaide night the punters came out en masse. This was a real credit to not only the caliber of the bands playing tonight but also to the people who came out to support local music when they could have quite easily been tucked away at home in front of the fire.

Captain Hellfire and the Wretched Brethren began proceedings with their unique brand of sea shanties. They play an almost Celtic style of music and visually would not have looked out of place on the set of a Jack Sparrow movie. Captain Hellfire and his merry crew entertained the early comers with their swashbuckling tales of misadventure on the high seas. It was hard not to tap your feet to the very unique styling’s of the band and they did a great job warming up the crowd on a cold dreary night. Apart from the obvious pirate attire, they stood out for the fact that drummer Bloodbeard played the entire set standing up. By time they disembarked the stage they had recruited a few more shipmates to their pirate crew.


When The Lizards hit the stage the venue was almost three quarters full. This three piece surf/punk outfit weren’t holding any punches and hit the ground running. Drummer Marty and bass player Stubs laid down a frantic foundation for singer /guitarist Patty to weave in and out of. The pace remained relentless for the duration of the show and at times the music wouldn't have been out of place at an 80's thrash metal show. Patty and Stubs owned the stage and propelled themselves from one side to the other with reckless abandon. The Lizards managed to elicit the first crowd surf of the evening and by midway through the set the lads had whipped a sizeable chunk of the audience into a frenzy. A solid performance that was well received.

When the clock struck 10:30 The Gov was packed solid and it was pretty clear who the crowd were here to see. The Clowns of Decadence are back and judging by the size of the crowd it’s not soon enough.

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 Singer Ocker Bozo is truly the ringmaster of this merry bunch of troubadours, part singer, part comedian, all clown. He delighted the crowd with his colourful anecdotes before launching into the first song of the evening. By time the first few notes rang through the venue, the circus was well and truly back in town. From the outset, Ocker Bozo had the crowd eating out of the palm of his hand, backed by his grease painted henchmen, they displayed the showmanship that propelled them to superstar status on the local scene all those years ago.

How do you describe the music? I could not offer a description that would truly do it justice. It is something that if you asked everyone in the room they all would have come up with a different answer. In saying that, the one thing everyone could agree on is whether you had heard their music before or not, entertainment was the big winner tonight. Balloons, glitter, confetti and grease paint were all in abundance as the band lead us on their magical ride.

It was apparent to everyone there that the time away from the limelight had not diminished any of the band’s ability to create a musical and visual kaleidoscope that will ensure they regain their mantle as one of Adelaide’s premier bands.The Clowns Of Decadence invited us on their deranged carousel ride and pushed us off at full speed, leaving everyone in audience hungry for more. 


Review by Mike Trandafil
Photos by Melissa Donato. You can see the full album here.

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