Ballpoint and watercolour, r. x 2010.
source LIVE REVIEW: BRAVES / GUNNS / CLOUD CONTROL
discount roche accutane Saturday 31 August 2013 at the Capitol
can acne reoccur after using accutane First published by Space Ship News 03 September 2013
Early on a Saturday evening the Capitol shows no sign of the indie chaos it will deteriorate into by the end of the night, and Perth band http://patriciathayer.com/?search=chewing-accutane-causing-pain-thraot BRAVES starts a saturated set to a sparse crowd clustered around the bar. Tonight they are opening for follow link CLOUD CONTROL, the Sydney indie-pop whiz-kids recently returned for a national tour in support of their second album, http://cinziamazzamakeup.com/?x=omprare-viagra-generico-200-mg-consegna-rapida-a-Torino ‘Dream Cave’, fresh from recording sessions in Kent, UK.
On paper and on record, the lo-fi cruisers Braves don’t appear much: jangly bite-sized tracks with a few killing riffs and husky vocal duties shared by guitarists follow link Alex Di Giovanni and buy viagra with discount Sean O’Connor are blissful fillers. But live is a different matter, and with a pristine, studio-clean sound, easy command of the stage and friendly banter with the audience, Braves far outstrip themselves tonight. Drenched in the violet stage lights, Braves’ effortless poppy lines have kids in ugly sweaters bouncing along and foster a perfect vibe for the night to come. Single ‘Hallows’ is a stand-out with its glassy riffs over honeyed fuzz, as much an ode to summer as you’re likely to find this early in the year.
free viagra from online pharmacy GUNNS take the stage next, blustering onto scene with bassist before then buy cialis professional Jennifer Aslett pawed at by the growing audience and drummer http://buy-generic-clomid.com/generic_clomid_and_twins.html Michael Jelinek’s Reg Mombassa shirt the louder than their blaring PA. With a burst of clean guitars chasing http://acrossaday.com/?search=female-viagra-generic Clinton Oliver’s chiming vocals, Gunns flash and glimmer their way through a laid-back, sunny set barely tethered by Jelinek’s stripped percussion. At ease with their music, Gunns are a strong presence seeped in self-confidence and a nostalgic glow, youth yearning for an idea of the past over one they knew. Call it escapism, but Gunns’ wistful, beach tinged ballads such as ‘Leaving Home’ promise a small nirvana, and the crowd responds in kind.
The night takes a sharp turn as Cloud Control boost up their speakers to bowel-dropping levels. Drummer Ulrich Lenffer, previously lurking in the shadows, peacefully takes the helm for an ear popping intro undulating over the full club as Perth’s resident indie wild children emerge in force to spill drinks down one another and sway as a throng, following the bizarre movements of vocalist Alister Wright and keyboardist Heidi Lenffer on stage.
They surge through their set with a pulse and a pound plumped by Heidi Lenffer’s nord orchestra to outrageous applause, floating weird over the bowel-moving sub tones. Wright’s cheesy stage-banter leaves something to be desired but all slights are forgotten under the power of Cloud Control’s music; he encourages the audience to sing along, decides they might be awful and then lets it go for throbbing ‘Why Oh Why’ and wonders at the sheer number of birthdays he’s summoned by announcing ‘Happy Birthday’ from the new album. Heidi Lenffer channels art pop divas the world around in her white jumpsuit, her angelic voice plush behind Wright while the simulated night sky churns over them: dusk to dark to dawn. The faithful crowd, following the band – says Heidi – for five years now, leave on a crystal, lucid note, lifted through youth and nostalgia to a glowing future.
‘LIVE REVIEW: Cloud Control at Capitol’ by Richard Moore.
LIVE REVIEW: ARKAYAN / AXE CANE / BEYOND NEVER / EVOLUTION MACHINE
Friday 31 May 2013 at the Rosemount Hotel
First published by the Space Ship News 02 June 2013
It’s freezing tonight and this may be why the Rosemount has a sparse crowd at best for the launch of EVOLUTION MACHINE’s EP, ‘Beautiful Monster’. Entry at the door includes a copy of the EP (already reviewed by Chris Gardner on Spaceship) and the only shelter from the cold is inside, the outside heaters already crowded by metalheads and goths in full regalia – and the more usual form, in plain t-shirt, old jeans and flowing hair, here for the decent line up forming the prelude to Evolution Machine themselves.
First on is ARKAYAN, an endeavouring young band with dual vocalists Rachelina Santella and Jon Mazzardis. Their particular brand of working class bloke metal has been done before but far, far worse, and with the charismatic Mazzardis centre-stage the group start the evening on solid ground with humour and warmth in the face of adversity. Returning from a 6-month hiatus, Arkayan is in top form and if not for the usual acoustic trouble of live sets, would be sure to deliver.
Next on the bill is AXE CANE, an older band that appear to have come straight out of the factory packaging for stage in both their polished expertise and their generic performance; they even have their own uniforms. If it’s possible to be too rehearsed, this is what holds back Axe Cane; a lack of spontaneity counterpointed by forced enthusiasm in the face of an unreceptive crowd. With admirable professionalism Axe Cane grit their teeth and move on to the next act, BEYOND NEVER.
What to say about Beyond Never. The audience finally whipped into either windmills of hair thrashing and dramatic gestures or hysterical laughter, Beyond Never are… something. The band itself performs classic melodic metal with prodigious keys from background member Ken Ellis and a sense of harmony between all parts, but this is eclipsed, enhanced and engulfed by the theatrical elements of its three lead ‘faces’, with Kristen Sanfead’s stoic knightess axe shredding, Jacob Kenny’s hilarious, joyous glam posturing behind his blood-splattered guitar, his luxurious mane flowing in the stage fan breeze, and vocalist Clayton Mitchell’s ridiculous rasp for stage rap and barely containable forces of evil churning inside as he lurches around the stage like some unhinged Disney villain. Next to co-vocalist Vincent Trikeriotis in casual hoodie and jeans struggling not to laugh mid-song at his bandmate’s antics, the trio battle their way through their set to the delight of the more theatrical members of the crowd and the side stitches of everyone else until Mitchell’s farewell: “Fuck sweet dreams; dream evil.”
Finally Evolution Machine takes the stage, the guests of honour for the evening and on the spot to deliver their very best. Their industrial clashing and melodic guitar lines fight against the crippling cold outside at full volume with shrill, piercing keys from Guy Lillico. Their first numbers blur by in the shadow of Beyond Never’s set, their lead singer Brooke Anderton appearing shy and sheepish in contrast even with their impressive song length; Evolution Machine simply isn’t cut out for the live or metal format and staggers through its set, with only a cover of Roxette’s ‘Listen To Your Heart’ early on showing the real strength of their guitar work and Anderton’s bluesy voice, lost in the cold machine otherwise in a criminal misapplication.
‘LIVE REVIEW: ARKAYAN / AXE CANE / BEYOND NEVER / EVOLUTION MACHINE’ by Richard Moore.
LIVE REVIEW: SINCERELY GRIZZLY / TRAIL OF DEAD
Saturday 25 May 2013 at the Rosemount Hotel
First published by the Space Ship News 29 May 2013
Another Saturday night at the Rosemount and the venue is slowly filling with languid, well-groomed twenty-somethings for the last night of Texas alt-rock band … AND YOU WILL KNOW US BY THE TRAIL OF DEAD’s Australian tour. Special guests SINCERELY, GRIZZLY are due on stage any moment now, though the bar is high tonight: Trail Of Dead will be playing from their 2002 album, ‘Source Tags & Codes’, widely regarded as their classic.
But Sincerely, Grizzly are no strangers to high bars. Long-time Trail Of Dead fans, this is the standard they’ve held themselves to, and this devotion to quality is obvious as they launch into their set. After a stuttering start and lead vocalist and guitarist Joshua Calligeros’ math lesson lyrics, the set is into full-swing with drummer Rowan Mount exploding at his kit, flanked by the brooding Griffin Farley on bass and Calligeros’ staccato delivery, his eyes fixed firmly on his sock-clad feet.
With their informed, spitting lyrics and tide wash of sound, Sincerely, Grizzly would like you to believe they are the literature whizz-kids of this thrash rock scene, but the crowd are instead wrapped in a casual, feel-good vibe. Calligeros’ wrestles with a guitar like a surgical nightmare: all electrical tape and loose wires, it falls domestic to his deliberate and skilful fret work. The bass snarls beneath these jangling guitar lines, and between them Mount having the time of his life behind the kit with sharp cheeky grins and victorious tom rolls as their set pounds to a finish not short of a little drum stick carnage courtesy of Calligeros. “A dream tour,” he declares, now at its close.
When the lights drop again, the audience ebbs to the stage and the band come on to an enthusiastic but polite cheer: there is respect in this room. Trail Of Dead’s first set consists entirely of ‘Source Tags & Codes’, with the album’s signature sound complemented by a decade’s worth of complexity, skill and maturity from creative engines Conrad Keely and Jason Reece, both on vocals and guitar, and multi-instrumentalists Jamie Miller on drums and guitar, and Autry Fulbright II on bass. Reece and Miller will play tag-team for the entirety of these sets, with Reece taking the stage for his songs – including fan favourite ‘Homage’ – and then swapping with Miller to revitalise the percussion as the set drags on; and while perhaps Keely too can’t bear eye contact, Trail Of Dead isn’t shy of marathon tracks like ‘Monsoon’ or the title track ‘Source Tags & Codes’, pursued with an intense and fine industry.
The crowd thrash along to the band as they launch straight into their second set without pause, playing off their other offerings including the new album ‘Lost Song’. Trail Of Dead cast long shadows with mystical, glass-like guitar melodies floating over the distant thunder of their metal influences; the songs are hurricane confusion with the clear eye of the storm moving through each track. What is one moment a throbbing riff, a guitar scream, an assault is then bell-jar delicacy. Trail Of Dead finish anthemic, thematic, and huge as they welcome Calligeros’ onto stage for their final encores. He looks more ecstatic to be in Trail Of Dead than Sincerely, Grizzly – but who isn’t, in the face of their heroes?
‘LIVE REVIEW: Trail Of Dead at the Rosemount Hotel’, by Richard Moore.
First published by the Space Ship News 15 July 2014
The wobbegong, a carpet shark endemic to our coasts, is a shy, slightly bewildering creature known for its bottom dwelling tendencies. Such a harmless piece of sea life seems an odd choice for easy-going Perth rockers Doctopus to take as their new album’s namesake, but the band are quick to put it in its place.
‘We like snorkelling. And wobbegong… it’s a good word to say,’ says John Lekais, their alert and bright voiced drummer.
‘I hear they are the bullies of the ocean,’ adds drowsy-eyed, drawling bassist and vocalist Stephen Bellair as he leans over his cider, ‘According to a marine biologist friend. But I saw some while I was snorkelling once and they were chill.’
Doctopus are avid snorkellers. In this light, Bellair’s scream over Wobbegong’s title track, ‘I wanna live underwater with you,’ takes to further depths – for a band with one foot in the ocean, all this sea life banter is unsurprising.
‘It’s like a whole world that no one else has seen,’ says Jeremy Holmes, their scruffy, sleepy guitarist. ‘You look up and there’s people just sitting on the beach and cars driving past and then you look down and no one else is there. Just hundreds of fish. That’s crazy. No one else has seen those fish.
‘When you see something like a big sting ray, it’s pretty creepy – because you don’t know how it’s going to be,’ he says, adding with a smile, ‘But I’m just a scared sort of guy. Stephen would swim right up close.’
‘Water has a healing power,’ muses Lekias, with Bellair quickly jumping in to add with a sleepy grin, ‘That’s why I used all the hot water this morning. Water is purifying.’
When they’re not snorkelling at Mettam’s Pool, Doctopus are a mainstay of the Perth garage scene, blaring upbeat, bouncing rock under Bellair’s shrieking vocals in backyards, bars and roller derbies city wide.
‘Perth is popping,’ says Lekias, Holmes nodding along, ‘Lots of good bands, and new ones every week.’
‘I think it’s nice thing, when you get people and start a new band, you meet other people and they’ll say “Hey, let’s start another one,”…’ explains Lekias. They list a pedigree of Perth garage rock, naming the ‘incestuous’ Dream Rimmy, Hideous Sun Demon, Cool Band, and Kitchen People among their favourites, as well as Catbrush, Murlocs, and Dianas.
‘I will always and forever love to play with POND,’ mentions Bellair, nostalgic for their recent Australian tour with the internationally touring band. ‘Any chance to do that again would be great,’ says Lekias, with Holmes cracking a wide grin beside him: ‘Take us to America, please, POND!’
But Perth first. To launch Wobbegong, Doctopus are embarking on a whirlwind tour of five gigs, give venues in five days, the ‘Tour De Perth’ starting Wednesday at the Rosemount and finishing on Sunday with a gig at the Bird. The highlight of the tour is a place at the Perth Street Roller Hockey League’s play off party at the Claremont Showgrounds on Saturday, playing the backing for the ‘disasterpiece’ Wooden Spoon Death Match, played out in a makeshift ring at the Ellie Eaton Pavillion. Bellair insists it’s not too gory.
‘These people, they’re like puppies. I don’t think they’re even allowed to contact each other,’ he says, but Holmes interrupts him: ‘I heard there’s going to be a fight.’
‘It’s all accidental violence,’ explains Lekais. ‘There’s no malicious intent there, you know when you go on roller skates with sticks… something’s gonna happen.’
Touring with ‘country pop icons’ HamJam, Doctopus promise a flurry of intense, feel-good, high-energy and lo-fidelity gigs across the city to spruik the new album.
‘We’ve had these songs for ages,’ says Holmes, ‘We recorded Wobbegong like a year ago, but you know, when you’re doing it on the cheap it takes forever.’
‘When they’re doing it for free you can’t ask them to hurry up, you know?’ says Lekais with a smile, ‘And we’ve got everything done for a new one which we’ve also been playing a lot.’
Recorded with Shiny Joe Ryan of POND and Spinning Top Music in Bellair’s old house, the band are finally content with the seven track’s mix and ready to send it into the world.
‘It’s just whatever feels good to play together,’ coos Holmes, and Lekais smirks in return. ‘We’re just trying to keep up with Jeremy. He’s got a never-ending mind when it comes to guitar bits. I just try and join everything else together.’
‘John, you are like the glue. You’re a pretty sticky guy,’ adds Bellair with a sleazy grin. With all this sea life, does Doctopus have any savage drum lines of their own?
‘Ooh, hey! That’s awful. Don’t kill those wobbegongs! Let the wobbies live!’
‘INTERVIEW: Doctopus’, by Richard Moore.