I was on our local radio station with usual presenter Alex Griffin to talk about Australian punk and post punk from the last 20 years-ish and play a few key tracks. Playlist below the cut, AG is Griffin’s choice, RE is mine and RTR are features for the station. If you click through above, you can even listen to it. Continue reading LISTEN: RTRFM’s Up Late with Alex Griffin, 27.01.16
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
The sheepish collection of young men herded onto the stage to accept both the (metaphorical) crown and the (literal) sweaty handshake of the exuberant Magnus D Magnus could have been any band tonight, but after their glitzed-out performance garage punks Cool Band were all the more embarrassed to win. Continue reading LIVE REVIEW: The Big Splash Heat #2
“Good riff party!” Pressing the mic close to his face, Shit Narnia frontman Hugh Manning pulled in the night: “Mad riffs, good party!” The grungey line-up of Foam’s kin picked for their EP launch and filtered through the brain-numbing bass of The Bakery fell together like riff to riff as the night grew into Foam’s set. Continue reading LIVE REVIEW: FOAM EP Launch at The Bakery, 27.03.15
LIVE REVIEW: SOMETHING ON THE SIDE FEST FEAT. CHIEF RICHARDS (PETER BIBBY) / HIDEOUS SUN DEMON / ELECTRIC TOAD
Wednesday 23 July 2014 at the Rosemount Hotel
First published by themusic.com.au 6 August 2014
This Wednesday saw a sink of energy form at the Rosemount Hotel as eleven bands took up the main stage and small bar Four5Nine for double-stage extravaganza Something On The Side. Starting as early as 7:00 with squealing punks King Crime and Robbie Rumble. Punters who made it out early to these new acts were rewarded with intimate, relaxed performances from the small groups leading up to the blooming psychedelica of Hunting Huxley and Dream Rimmy as audiences crossed between stages to glimpse the best of each set.
The smaller Four5Nine Bar was host primarily to aggressive, sonically violent punk bands which made the most of the tight space by getting in the faces of their devoted audience with savage and brutal high distortion and fast, intense sets chewing through the high-density line-up. Kitchen People’s loose punk stagger was quickly tightened by Skullcave before Black Stone From The Sun took the stage, a duo grinding through their songs only to stop at the nine minute mark. “We don’t have a set. We just play it as it comes. Fuck it, we’ll do one more,” Sean Mackay, guitarist, grumbled, coaxed into a slaughterhouse of noise. Aborted Tortoise, popular as ever, were playing next on their home ground, perfectly suited to the close-quarters venue spitting right into their audience.
On the main stage Chief Richards, a sole figure with a loop board, gorilla mask and polkadot trousers, wound digital prog nonsense around a throbbing reverb to a bewildered audience. Mumbling through the mask to hecklers, he coaxed Catbrush drummer Anetta Nevin on stage to accompany a shrieking electrical storm with her thundering percussion, bringing the set to an explosive conclusion. Hideous Sun Demon, the last formal band of the night, then took the stage to a full bar with a stripped-down set as frontman Vin fought for the spotlight against the alarming cling of his trouser crotch. The crowd surged in a throng of violent energy to their breakneck rock, somehow equally aggressive and benevolent as thrashers gave way to their friends for a good time.
At last Electric Toad filled the stage. With 16 musicians crammed on stage and clambering over their instruments, Stephen Bellair, Anetta Nevin, and Blake Hate howled random vocals as remaining revellers struggled to co-ordinate dances to jam songs. A stand-out jam with King Crime’s Samuel Joseph Evers screaming a refrain of ‘it’s okay, it’s all right!’ lasted a marathon ten minutes, until finally the event collapsed into chaos and creative exhaustion.
‘Electric Toad at the Rosemount Hotel’ by Richard Moore.
LIVE REVIEW: EMU XPERTS / ABORTED TORTOISE / HUNTING HUXLEY / HIDEOUS SUN DEMON
Thursday 12 June 2014 at the Rosemount Hotel
First published by themusic.com.au 19 June 2014
Winding around the narrow back bar to reach the Rosemount’s main stage for Hideous Sun Demon’s album fundraiser, the thudding cock rock produced by rude and crude openers Emu Xperts made a harsh promise of what was to come. With towering, tattooed frontman Blake Hate streaming blood from his left shoulder and roaring along to grunt rock anthems such as ‘Dexies, Midnight Hummers’ and ‘You Won’t Like Me When I’m Sober’, the Xperts cleared the stage with frightening presence, leading a small but savage crowd and littering the venue with Export cans.
While the venue emptied for a cigarette break, young by-the-book punks Aborted Tortoise skulked onto stage, opening to an empty bar with brutal misogynistic tirade ‘Last Night I Killed My Girlfriend’ at top volume, a beckoning call for smokers to pour back into the Rosemount for more solid offerings as ‘Social Crime’, ground out over John Peers’ filthy bass with sloppy, jangly guitars and vacant gazes as Charles Wickham, dreamy Woodstock sweater model, and Tom Milan, hunched over his guitar, competed for solos. Aborted Tortoise drove through their set with barely a breath to the glee of an increasingly bloodthirsty audience and then departed as quick as they appeared.
Hunting Huxley, acknowledging the addition of fill-in drummer Jerome Turle by coyly renaming themselves Grunting Fuxley, or Hunting Huskies, sloped onto stage next with their marathon soundscapes headed by a booming 80s sample, ‘space is curved…’, leading into the psychedelic, bass driven ‘Planet Terror’. After a quick detour into a cover of Lana Del Ray’s ‘Summertime Sadness’ with cheeky grins, Huxley moved into more stoner rock territory with instrumentals ‘Ring’ and ‘Flavours’, aided by Cramie Mill Jammy on saxophone for their final offering. Dressed like prog magicians and getting increasingly so as time progresses, Huxley provide blissful, content-heavy downtime for the punks present.
Finally Hideous Sun Demon come on board, launching straight into their double speed stimulant rock with lead Vin particularly maniacal in sheer black blouse, his blonde crown lit up by the stage lights and cut apart by his vicious, infectious grin. A killer performance of favourite ‘Do You Like It Down There?’ glides faultlessly into ‘Ohio (Is It Dead Yet?)’, proving that as Hideous Sun Demon push for new heights, they have not yet hit the sun. After a quick and inexplicably polite plug for upcoming LP, Sweat, the speed demons rip through ‘Glue’ and ‘Monoculture’ with a crazy, anxious and competitive speed, leaving a gracious audience to worm their way home.
‘Hideous Sun Demon at the Rosemount’ by Richard Moore.