Hideous Sun Demon are something of Perth, Australia’s best kept secret – shielded from the national spotlight neighbours Tame Impala or POND might enjoy, Hideous have been brewing like the bacteria in that cup of coffee your science teacher left at the back of the classroom that one time, crawling from the ooze with their first album Sweatand practically an ecosystem of fellow grotty boy garage bands: Cool Band, Kitchen People and Aborted Tortoise to name a few.
It’s hard to explain what they sound like without using that tactile language: like the black stuff that comes out of a roadkill kangaroo, like the thick, viscous fake blood – the stuff that smells of liquid plastic – that squirts out of Ozploitation horror films, like pen ink spilt over your foot from a poorly executed stick ‘n’ poke, like that one patch of the couch no one will sit on after that one unfortunate happening at that one terrible party, the one that Gideon brought that THC-moonshine to, the one where the toilet was blocked up five metres down and Tom woke up six kilometres away naked in a park the next day. Or maybe take a bit of grunge fuzz and grind, a bit of psychobilly dexamphetamines, add the manic hoots and screeches of frontman Vin Buchanan-Simpson panting over the muscles of a gym junkie in ‘Flex’ (“Feel them crawling under my skin/Is it bigger?/Is it bigger?”) or word salad of ‘Ohio (Is It Dead Yet?)’, sprinkle a pinch of metal in mad shredding guitar solos and a dash of psych in extended psych-outs like ‘Neon Sound’, and you have an approximation of Hideous Sun Demon. Continue reading BAND PROFILE: Hideous Sun Demon, 08.07.15
With a pedigree of DIY cerebal post-hardcore influences like Fugazi, OFF!, and Savages, WaLL have set themselves a high bar, and matched with their ferocious, confronting energy live and frontman Kieran Welton’s weird promotional hashtags via the band’s twitter @wall_sounds – #postculture, #depressionisoppression, #iamobject, #iamsubject, #object, #object, #object, and the ever present ‘here come the hot chocolate kids’ slogan – give the project an indefinable quality hard to manifest in the studio. Object has gestated long in recording and production, and to much surprise and still absolutely none at all, has come out perfectly formed and already walking with the blood and caul still in its hair. Continue reading ALBUM REVIEW: WªLL, Object, 22.07.15
Y Dydd Olaf (The Last Day), an album inspired by Owain Owain’s 1976 Welsh-language dystopian science fiction novel of the same name, marks another entry in the ever-growing archives of cambrofuturism — Welsh futurism, a lens through which a disenfranchised culture can find an identity in an imagined future — and similarly draws on electronic, krautrock inspiration for that peculiar sound: think late Super Furry Animals, the Manic Street Preachers’ Futurology, and ’80s psychers Llwybr Llaethog.
Gwenno is no stranger to this territory and her airy vocals and beautiful, bold production let the imagination run wild. A blissful experience that effortlessly transcends the language barrier.
Dogs In Space (1986) is a Richard Lowenstein film about sharehouse punks in St Kilda in the 1970s. Featuring Michael Hutchence, the Primitive Calculators, and a lot of heroin, it’s a classic.
It’ll be up at the Bird for the next month or something as part of an art show reimagining film posters through the styles of Perth artists. The Cars That Ate Paris, the Pissedcolas and Cold Meat will be launching it this Saturday at 8.20 pm with some movie tunes too. So come down basically.
Director: Don Hardy Jr
Starring: The Residents
The Residents, for the uninitiated, are that band your weirdo friend tried to impress on you at your weakest moment – drunk, high, hungover – late at that one party. You barely remember anything about them apart from jerky images, eyeballs in suits and dissonant but strangely soothing music; or else you’re their biggest fan and one of those people in desperate search of the next weirdest thing to impress your musically jaded friends with the sheer breadth of your taste.
Winehouse obsessive Asif Kapadia’s documentary hits cinemas four years after the star’s early death. What felt in equal parts shocking, mysterious and inevitable in 2011 has been largely left alone apart from the usual hyenas picking over tragic deaths for tasty morsels and giggles, and – for the most part – Kapadia’s narrative marks a relief from that, although the shadow of ‘too soon’ is still stands long over the footage. Continue reading FILM REVIEW: Amy (2015)