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Destroy All Lines

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Gig ReviewsReviews
March 25, 2023
Cassandra Hale

[Review] Knotfest @ Flemington Racecourse, Melbourne 24/03/2023

Review by Cassandra Hale

It has been a long time coming, we have been waiting patiently, and now the inaugural Knotfest was upon us. The Maggots were festering and ready to burst, the excitement was palpable, the hoards were bouncing on the balls of their feet waiting for those magical gates to swing open and let them the hell in.  The colour of the day was black, it came in every possible version with only the odd orange boiler suit thrown in for good measure. Masks were plentiful strapped on with precision in various arrays which were laboriously removed for the id checks on arrival. I bet the owners weren’t quite expecting that!  Eager to go hunting for all the hidden gems and scope the lay of the land before Malevolence kicked off the proceedings I set off, and man oh man what a huge area to explore. The trek to the Slipknot Museum and other offerings such as flash tattoos and a cheeky haircut felt like walking between suburbs, the area was vast but did not take long to fill. With plenty to keep you entertained and a massive amount of food options it was a great place to come and chill for those seeking some down time.  There was even a tent complete with a wrestling ring which held some pretty feisty matches over the course of the day if you were that way inclined. But for now it was time to get the party started.

Hailing from South Yorkshire, Malevolence hit the stage running, wowing the masses from the first song. I was blown away by these guys. They were super tight and extremely entertaining to watch, and I did not seem to be alone as they amassed people as far as the eye could see. The circle pit made its first appearance and it was rabid, punters so happy to get amongst it. From the outside it looked to be moving at warp speed with people riding on shoulders while making the crazy annulus. A few that caught my attention were Still Waters Run Deep and Self Supremacy, and I will be looking into their back catalogue pronto, these guys were worthy of a spot much higher up the order and set the bar very, very high for the rest of the day.

Malevolence @ Knotfest Melbourne

Melbourne’s Void Of Vision took their place on Stage 2 and I could not believe the early turn out of people, no one wanting to miss one band. They had thousands in front of them as they blasted out their thirty minute set with, singer Jack Bergin pulling out all the stops. With blackened eyes and studded collar, he led the boys as they opened with Into The Dark and I pondered how far they had come since I last saw them. They crammed a lot into their set including HELL HELL HELL and DOMINATRIX and closing out with THE LONELY PEOPLE.

The weather remained favourable after a brief shower early on, but it did not deter a single person as they flowed back to stage one for Melbourne based superstars Alpha Wolf. Opening the pit up instantaneously the boys flew through their set with Hotel Underground being a standout. I could see how overcome they were with the turn out and they seemed humbled on many occasions during their time on stage.  Sabian Lynch even taking to the speaker tower to get a bird’s eye view of the crowd. Nearing the end of their stage time they punched orange and white Alpha Wolf beach balls into the pit which were happily pounded around for the duration of the set.  I was left well impressed by these guys and if you are yet to check them out get on it stat!

Alpha Wolf @ Knotfest Melbourne 2023

Making a dash to try and find a shortened line at any of the four merch counters proved impossible, they were one hundred deep at every one, disheartened I vowed to try again later and headed back to catch the end of Knocked Loose. This Kentucky based five-piece had a huge crowd in front of them as they ploughed through their set including Dead Ringer and Counting Worms. After being around for ten years they have certainly earned their spot and were eager to entertain, singer Bryan Garris bringing his energy to the forefront.  One that definitely took me by surprise was Spiritbox, this Canadian outfit instantly grabbed your attention and held it for the duration of their set. Singer and founding member Courtney LePlante engaging with fans as they powered through with a set of eight including Yellowjacket, Rule of Nines and Hysteria. I can see why their sideshows sold out in minutes; these guys kicked serious arse.

Story Of The Year were earning their spot on stage 2 as the sets grew slightly longer and they threw in a quickfire 9 songs. The mosh was piping up and fans were surfing across the top with vigour. Hailing from Missouri these guys have been around a while and knew how to entertain the swelling masses treating us to We Don’t Care Anymore, Tear Me To Pieces and In The Shadows to name a few. Closing out he set with Until The Day I Die leaving the fans fully satisfied and ready to mix it up with InFlames. Hot off their sideshow with Megadeth these Swedish megastars had the punters in a frenzy, the mosh circling like their life depended on it.  With a terrific span of songs on their setlist the fans were awash with happiness and had their heads banging in approval as Cloud Connected, Only For The Weak and State of Slow Decay were among the treats provided. The punters more like the walking wounded as they slammed over the barrier, many hobbling for help as they were dragged and dumped. But that is the nature of the beast and if you can’t handle the heat get out of the damn kitchen. It was at this point that a wheelchair was raised in the crowd much to singer Anders surprise, but hell, this is Knotfest so anything goes! It would be a sin not to mention Chris Broderick who was shredding up a storm, it was so awesome to see him having so much fun onstage and engaging with the fans, and while I may have been distracted briefly by his bulging biceps I tried to stay focused as they closed out with Take This Life.

Viking heavyweights Amon Amarth have a following like no other and it would be a sin to miss their set for the spectacle alone. It takes you on a historical journey, their songs forged in time, flying Thor’s flag as they navigated through passages of history with vigour and conviction. Guardians Of Asgaard, Deceiver Of The Gods and The Pursuit Of Vikings turning up the heat. As expected, Put You Back Into The Oar saw the heathen army take a seat and ‘row, row, row’ if you are yet to see this in action please add it to your bucket list it is quite the spectacle. The masses raised cardboard swords and shields which did not go unnoticed by singer Johan Hegg, their dedication unwavering. I did see one man in full Viking regalia complete with fur and I was impressed by his enthusiasm.

Northlane really did bring the heat as they turned it up to 11, our own Aussie bands stacking up with the international superstars with ease. The mania had well and truly descended as they opened with Clarity and Plenty. The stage set with LED screens from which the drum riser nestled in between, creating a terrific stage dynamic. The hoards not messing around as a wall of death was quickly established, leaving the weak to fend for themselves as the craziness arrived. Cypher, Clockwork and Bloodline all worthy additions as these boys from Blacktown were overwhelmed by the scene in front of them. Closing out with Talking Heads the boys were well spent and had earned a cold refreshment, but there was none of that for the punters who were back to it with the mighty Trivium. Anyone who has seen these guys in action knows exactly what is in store, these guys play hard and instantly turned the heat metre to 100. Matt Heafy had a smile for miles, his face ever expressive as they worked through an impressive set including Rain, Feast of Fire and Down From The Sky. The pits were intensifying which each band and they took on a pulse of their own as Pull Harder On The Strings Of Your Martyr rang out, it was Trivium’s fourteenth trip to Australia and gauging the crowd response it definitely won’t be the last.

Stalwarts of thrash metal and members of The Big Four, the highly anticipated Megadeth’s time had come. The chants of ‘Megadeth’ started long before they hit the stage, the thrash army pumped and ready to mosh. The intro to Prince Of Darkness got the juices flowing as the band unleashed with Hangar 18, Dread And The Fugitive Mind and Angry Again. Dave Mustaine in peak form and smashing out all the hits with ease. Kiko Loureiro working the stage with ease his guitar shredding exemplary, it was such a joy to watch him at work, he owned the stage and boy can he play a guitar! Their stage also came complete with LED screens and an elevated drum riser giving a terrific view of Dirk Verbeuren as he smashed the skins to within an inch of his life. James LoMenzo is the god of bass and so much fun to watch on stage, his crowd engagement is undying giving every fan an up-close experience. Symphony Of Destruction with its signature intro set fans into a frenzy and made them hungry for more. But would any Megadeth show be complete without a quick appearance from Vic Rattlehead, of course not. Peace Sells was the song when he staggered out and the punters went crazy, taking the mosh up a level and saluting this iconic mascot.  There was only one song the fans wanted to finish out the set and it had to be Holy Wars, a Megadeth classic and one that left an air of contentment across the smiling faces of the pit.

Parkway Drive is a household name worldwide these days, the boys have worked ridiculously hard to forge their place in the music industry and it is now paying off in spades.  Their show is a spectacle to behold and I can not begin to describe the size of the crowd that had amassed, there was literally thousands upon thousands as far as the eye could see.  A sea of people moving as one so eager to regain their lost years of music and soak up every minute on offer. They don’t get much bigger in Australia than Parkway Drive and they delivered a show with every bell and whistle and then some. It had flames, it had pryo, it had smoke, it even had a drone taking in all the action. Winston McCall a born entertainer, had the crowd eating out of his hand as the band worked through their hour and a quarter set, including Glitch, Carrion and Vice Grip to name a few, his graciousness was unending to the fans and his face showed his happiness all night. The addition of strings lifted the show to new heights, the violin and cello setting a sunning scene as the sun set over Flemington Racecourse. Winston returned shirtless to start a few hearts racing as they finished out with Crushed and Wild Eyes, flames blasting off every place possible and warming up the quickly cooling venue.

The time had come to honour the name’s sake of the festival itself, Slipknot. The build-up had been one of gargantuan proportions, selling out every show in Australia, the fans voting with their hard earned desperate to see their musical heroes. It has been a long wait six years in fact, the maggot family reunited and ready to raise hell.  Dolly Parton’s 9 to 5 played briefly before the AC/DC classic For Those About To Rock stilled the fans, tension was palpable the giant Slipknot banner waving in the wind across the stage, as it dropped Flemington Racecourse exploded. Disasterpiece, Wait And Bleed, and All Out Life got pulses racing and the collective mosh bouncing. Corey Taylor demanded your attention and every eye was on him as fan fave, Sulfur rang out, the stage a mass of impressive screens and lighting, flame throwers rocking the night sky. The show briefly halted while one bozo tried his luck climbing a speaker tower, but the problem was quickly rectified, and the show went on without a hitch. The stage having the trademark Slipknot drum set up on either side raised high to give everyone a perfect viewing platform while the main kit took pride of place. Psychosocial left the hoards panting along with Duality and Custer which just formed a small part of the blistering setlist.  Spit It Out took the show to new levels as we all got ready to get low and hold until our preacher Corey ‘mother fucking’ Taylor told us to ‘jump the fuck up’ it was surreal moment and one that always brings the chills with it. The hold he had over the thousands was masterful to watch, the power he held in his hands mind blowing.  After a quick trip off stage the night was complete with People = Shit and Surfacing what a way to finish of the most amazing day, Corey constantly thanking the fans for their unwavering support, his appreciation paramount all night.

As the war-wounded and weary made their way from the stage, their faces tired, their bodies feeling every bit their age I know with all certainty they would jump back in the pit to do it all again without a moment’s hesitation. The sound, the lighting and effects made the festival what it was, kudos to all involved your dedication and attention to detail made for a wonderful experience and it did not go unnoticed.

Knotfest Australia 2023 was a resounding success, congratulations to each and every person involved, you brought so much joy to the fans and gave them memories to cherish for a lifetime. Now we wait with bated breath until next time……

Amon Amarth, Trivium & Malevolence will be back on stage at the very first KNOTFEST AUSTRALIA kicking off today in Melbourne!

KNOTFEST AUSTRALIA 2023
LINE UP:
 
Slipknot | Parkway Drive | Megadeth | Trivium | Northlane | Amon Amarth
 In Flames Knocked Loose | Spiritbox | Story Of The Year | Alpha Wolf
 Void Of Vision | Bad Omens | Malevolence

DATES AND VENUES:
Friday 24 March 2023 – Flemington Racecourse, Melbourne SOLD OUT
Saturday 25 March 2023 – Centennial Park, Sydney SOLD OUT
Sunday 26 March 2023 – RNA Showgrounds, Brisbane SOLD OUT

Information available at destroyalllines.com

March 24th, 2023 – Flemington Racecourse, Melbourne

Saturday 25 March 2023 – Centennial Park, Sydney

Sunday 26 March 2023 – RNA Showgrounds, Brisbane 

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Gig ReviewsReviews
March 24, 2023
Kynan Arden

[Review] Amon Amarth / Trivium @ The Forum, Melbourne 23/03/2023

With Knotfest raining down upon us downunder after what seems like a quick set of months, The Forum called one last time before the anticipated festival, for all warriors, heathens and thrashers alike banded together as a ferocious unit at the behest of none other than the Viking metal heads themselves, Amon Amarth, joined by the ever so legendary Trivium, and Malevolence. Such a monstrous lineup couldn’t go unnoticed.

Hailing from the UK, Malevolence provided an energetic, enthusiastic warm up to kick off the three set gig, and despite being listed as a support under other heavy metal greats, they shined above that status. The frontman, Alex Taylor, had a coolness that radiated the entire venue that fuelled the powerful screamo vocals he amplified into his mic, and I could not resist pulling a face identical to my expression seeing a gorgeous woman in response to the bands disgustingly filthy breakdowns that could rapture the concrete below us. It was a shame that these beasts only had a 30 minute set, for their performance was a fiery highlight in itself that certainly got the crowd warmed up with veins bulging for the rest of the evening.

Donning a stunning backdrop featuring green dragons and red demons intertwined with the group’s logo, Trivium made their explosive entrance, and the music itself could have been drowned out by the collective roar of the crowd. And let me talk about the crowd for one second, for I have never in my life experienced such a wild, ferocious, and lively mob of metal heads, as the mosh and circle pits never wavered or broke, and every chiropractor in the state will be getting a run for their money with neck appointments. I was long before I was smothered and cramped among huge burley rockers carrying me closer to the barrier, and later to the other side of the stage itself.

The energy that Trivium brings to their live shows, even those on their 14th tour of Australia, is utterly insane, with the ever so charismatic Matt Heafy always being a treat to gaze upon, Corey Beaulieu’s luscious wet hair and glorious unclean backing vocals, Paulo Gregoletto’s forever plucking bass fingers, and Alex Bent’s incredible drumming precision. The Sin and The Sentence blew the venue off the roof, as did other hits such as Like a Sword Over Damocles and my personal favourite, The Heart From Your Hate. Matt Heafy never ceased exploring the stage joint from mic to mic across many lining the front, engaging with each and every section of the venue that fuelled him with overwhelming enthusiasm, causing the legend himself to claim that it was the greatest crowd they’ve experience down under, right before concluding the set with the undeniably monstrous number, Pull Harder On The Strings Of Your Martyr, a song that surely came close to destroying my vocal chords.

The glorious artwork of Trivium’s backdrop lowered to reveal yet another stunning piece, not of mystical beasts, but of a Great Heathen army, decked out along with wooden rune-riddled panels and a giant symbol of Mjolnir.  Even the mosh pit began early as the lights dimmed and blasted Iron Maiden’s Run to the Hills, before a melodic Nordic tune filled us all with more anticipation. And just like the thunder Thor blessed our Melbourne weather with that morning, the warriors Amon Amarth took up arms and explosively opened the finale set with Guardians Of Asgard. Johan Heggs ferocious, low growls as his signature vocal technique did not stray from its glory heard in records, for hearing it live provided so much power that you could almost hear Odin’s call among them. Not only this, but the guitar harmonies could in themselves rival the call of the Valkries for the precision and flawless synchronisation was a delight to every ear. 

In only an hour, the Scandinavian band of heathens managed to turn an entire mob of Melbourne Metalheads into a ferocious Viking army, who’s chants, roars, and horns in the air inflates our warrior’s hearts. In this crowd, we all thrashed and pushed each other in joyful jest and laughter.  In this crowd, women did not sit atop men’s shoulders, for it was the shieldmaiden sisters who carried the brothers. And I could not get enough of it. Even to Johan’s amusement and joy, the women out-screamed the men in a short contest, making us mere boy bruisers rather than brothers in that moment. Nevertheless, we all chanted and howled like Vikings all together. We all sat on the ground and simulated the rowing of a longship on a voyage to Put Your Back Into The Oar, with the backdrop now depicting said ship in a vicious storm. We were encouraged to Raise Our Horns and shout “Skal!” to the band as they collectively downed beer from their drinking horns before blasting into the hit tune. We especially did not let them conclude the show without the famous tale of Ragnarok through the number, Twilight of the Thunder God, and before we knew it, Amon Amarth return with Johan raising Thor’s famous tool, Mjolnir, above his head before crashing it down upon the ground kicking off the finale.

I do not remember the last time my hair and shirt were soaked in pure sweat, whether it was mine or others, however I couldn’t expect anything less experiencing the sheer power of these three legendary metal acts back to backs, all returning after years robbed by a pandemic. My soreness and lost voice only describes how much joy I had. Would I do it all again?

…….Yes. In a fucking heartbeat   

Amon Amarth, Trivium & Malevolence will be back on stage at the very first KNOTFEST AUSTRALIA kicking off today in Melbourne!

KNOTFEST AUSTRALIA 2023
LINE UP:
 
Slipknot | Parkway Drive | Megadeth | Trivium | Northlane | Amon Amarth
 In Flames Knocked Loose | Spiritbox | Story Of The Year | Alpha Wolf
 Void Of Vision | Bad Omens | Malevolence

DATES AND VENUES:
Friday 24 March 2023 – Flemington Racecourse, Melbourne SOLD OUT
Saturday 25 March 2023 – Centennial Park, Sydney SOLD OUT
Sunday 26 March 2023 – RNA Showgrounds, Brisbane SOLD OUT

Information available at destroyalllines.com

March 24th, 2023 – Flemington Racecourse, Melbourne

Saturday 25 March 2023 – Centennial Park, Sydney

Sunday 26 March 2023 – RNA Showgrounds, Brisbane 

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Gig ReviewsReviews
March 24, 2023
Megan Milner

[Review] Bad Omens @ Factory Theatre, Sydney 22/03/2023

Review by Megan Milner

Undoubtedly one of the most highly anticipated acts on the Knotfest line up, are American metal band Bad Omens. Hot off the back of a sold out US run, they’ve stopped in early for 2 side shows – mere days ahead of their festival appearance. Last night in Brisbane at the Triffid and tonight at the Factory Theatre in Sydney, will be celebrated as the first every Australian shows for the four piece. Both Brisbane and Sydney performances sold out in less than a minute, leaving many begging for tickets up until show day.  

A last minute addition see’s melodic hardcore band, Bloom kick off the night to a sold out crowd. The Sydney boys played their hearts out, lifting the energy early on, creating many new fans. The line for Bad Omens merch snaked back to the entrance, luckily for those patience folks they had a great show to watch! Each member of Bloom was gracious and spoke of being very fortunate for the opportunity to share the stage with tonight’s headliner. Closing out their set with Cold; dedicated to anyone who knew the band before tonight.  

The energy in the room is electric and tense, each one of the sold out crowd eagerly awaiting the band we all came to see. Bad Omens trajectory in the last couple of years is undeniable. While they may have been an established act, the release of their 2022 album The Death of Peace of Mind saw their popularity sky rocket to unimaginable heights. Minutes before their scheduled 9pm arrival, the lights dim and pre recorded audio fills the room. Lead singer Noah Sebastian appears on stage dressed in a trenchcoat and gloves, wasting no time starting Concrete Jungle, with drummer Nick Folio.  

The volume of the mostly female crowd is immense, we have been impatiently awaiting the arrival of Bad Omens to Australia and we finally have our moment. The stage lights lower again, Noah leading the band back to the stage in a balaclava for Artificial Suicide. It’s one of their heavier songs and one I absolutely adore. Headbangers fill the floor and the pit starts early, packed in nice and tight. Guitarist Joakim Karlsson and bass player Nicholas Ruffilo tower over the crowd on either side of the stage. Their long hair and axes in hand create a menacing image! 

Nowhere to Go gives the crowd a chance to open up those vocal chords and sing along. With a huge chorus, this has been a fan favourite since release and one of their top streamed songs. After three tracks all from their latest album they take a break to speak with the crowd, appreciating each person in attendance for their first Sydney show ever. Noah explains their next track, Glass Houses is the very first they ever released, the crowd sung in unison right to the end. 

The breaks between songs seem to grow longer and longer, while the fans try to fill the silence with chants for the band, and of course, for shoeys. 

The Grey begins acapella, as I look around the room to see multiple fans pouring their hearts into the lyrics, ‘gave you way too many chances, you ran through ‘em all’. 

After yet another long break with no stage lights, Noah walks to the centre of the stage to apologise. He’s experiencing vocal issues and is concerned he won’t be able to perform the show we all came to see. It comes as a real surprise, as he has been sounding fantastic from the first note. ‘We are going to try do one more song and go from there’, Noah reluctantly confesses. As the band throw themselves into Mercy, the energy has altered on stage and in the crowd. Less punters are moving, you can almost see them holding their breath, hoping for the best while Noah has clear signs of frustration. The band get through the song before disappearing once more. 

This time the break is longer than previous, the chants dissipate and our concern grows. The house lights come on as Noah returns to the stage once more to explain that they are here for Knotfest and believes if he continues tonight, he will damage his voice to the point that he may not be able to perform at the festival. Concern for his voice aside, he announces he will play the track ‘most of you came to hear’, Dethrone. The crowd roars, but a few are confused as it is their heaviest track and will not do any favours to a strained voice.  

Regardless, he kicks off Dethrone with the ‘CONCRETE! JUNGLE!’ mantra and makes it through the track before departing the stage. The band delay leaving to hand out guitar picks, setlists, drum sticks and shake as many hands as possible.  

Nobody expected tonight to turn out the way it did. Mixed feelings can be found at the Factory Theatre's bar, including regret over just witnessing 8 songs and an understanding, sympathetic heart for Noah's voice, fortunate for seeing the songs we did get. We definitely anticipated a lengthier show tonight from Bad Omens after waiting so long, especially since all three Knotfests only allowed for half-hour sets at a midday time slot. 

We wish Noah all the best back to recovery and hope he can get up on stage at Knotfest for all 3 performances! 

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Gig ReviewsReviews
March 23, 2023
Josh Mak

[Review] Megadeth / In Flames @ Margaret Court Arena, Melbourne 22/03/2023

As musicians, there are some bands that reached out from the speakers, grabbed us by the souls and inspired us in more ways than they will ever know. On this Wednesday evening, I was humbled and blessed to be in the presence of not one, but two bands who are legends in their individual genres, and whose hold on me has only tightened as the years have gone by. So, without further ado, join me as we lose ourselves in the majesty of In Flames and Megadeth.

In the darkness the sounds of an acoustic guitar and strings played over the sound system, the unmistakable Swedish melodies that In Flames have become renowned for echoed in the stadium in harmony with the roars of the crowd. This was The Beginning of All Things That Will End, and it heralded the appearance of the band that was the soundtrack to my childhood.

They strode out on stage and went straight into The Great Deceiver from their new album, Foregone. Frontman Anders Fridén told us to expect a set list that he called a 10 out of 10 – and my God, did they deliver.

My mind raced with the possibilities of what material from their impressive catalogue they might perform and I was answered with the iconic track, Pinball Map, which was followed by arguably one of their biggest hits, Cloud Connected.

What they played next would have pleased the most devoted of In Flames fans. Taking us all the way back to the very beginning, the song and the album that inspired a whole generation of bands – Behind Space from their debut album, Lunar Strain.

What proceeded was akin to being placed in a time machine as we navigated our way through their discography. Graveland from The Jester Race, The Hive from Whoracle, Only For The Weak from Clayman and My Sweet Shadow from Soundtrack To Your Escape.

I don’t usually go into such intricate detail with regards to the set list but in this case, it was so spectacular that I felt it would be remiss of me not to mention it for all the Jesterheads out there.

We were then returned to the present  with Foregone Pt. 1 and State of Slow Decay.

The current band line up of –

Anders Fridén – Vocals
Björn Gelotte – Guitars
Chris Broderick– Guitars
Bryce Paul – Bass
Tanner Wayne – Drums

– sound incredible together. Tanner and Bryce lock in really well with each other and deliver truckloads of groove to the rhythm section. Chris Broderick adds his decades of experience and finesse as a guitarist to the band and elevates their sound to new heights. Playing complex passages with ease while rocking quite possibly the most impressive set of guns in the industry.

Anders Fridén and Björn Gelotte are without a doubt the beating heart of In Flames and they sound better than ever. Time has aged them like a fine wine, bringing about maturity and complexity, but losing none of the youthful joie de vivre.

The set concluded with Alias, I Am Above and Take This Life. As a man I can only imagine that this is what the fabled multiple orgasm must feel like.

But be still my beating heart, for this is only the beginning. As the Kings depart the stage we braced ourselves for the Gods. Megadeth were about to appear.

Two massive screens flanked the stage with the drum kit set in the middle like a jewel in a crown. Images of flames, death and destruction flashed across the screens as Prince of Darkness played. Megadeth strode out on to the stage with the presence and subtlety of a supernova, and exploded into Hanger 18. The crowd had greatly enjoyed In Flames but this was undoubtedly Megadeth’s family. Any energy that they might have withheld before now detonated through a series of convulsions.

The call and response solo trade-off between Dave Mustaine and Kiko Loureiro simultaneously inspired and discouraged every guitarist in attendance. It seems otherworldly to witness such a combination of technical brilliance and showmanship before your eyes.

They followed this up with Dread and The Fugitive Mind and The Threat Is Real. Dave Mustaine then took some time to regale us with the tale of how the next song came into being.

Arnold Schwarzenegger had wanted a song written for the movie, The Last Action Hero. Dave wrote the lyrics inspired by a dream he had, where ex-drummer Nick Menza had accidentally kicked over one of his beloved guitars and that is how we were blessed with the track, Angry Again. As the band began playing Sweating Bullets the crowd’s reaction can be eloquently described as – going ape-shit crazy. They practically sang the song on Dave’s behalf and made sure that the security worked hard for their pay-checks last night.

To the casual observer these scenes might look chaotic and violent but at a Megadeth show, this is a unique marriage of brutality juxtaposed against brotherhood; a special kind of bonding on an intangible level that is enjoyed and appreciated by the fans.

Another benefit of this environment was that there were a lot less phones out filming in the pit and the audience were able to lose themselves in the music with total abandon.

The freight train of a set continued ploughing through us with She-Wolf, Conquer or Die, Dystopia, Tornado of Souls and Trust. At this stage Dave spoke about getting diagnosed with cancer in 2020 and how when friends heard about this they replied by saying: “ I feel sorry for cancer.”

I’m inclined to agree with that sentiment, for Dave Mustaine is genuinely a force to be reckoned with. Nothing stops this man and his unrelenting will and vision. Through one of life’s most painful and cruel trials he wrote and recorded the phenomenal album, The Sick, The Dying & The Dead, and then he blew us away with the performance of We’ll Be Back.

Megadeth’s current lineup boasts some of Metal’s biggest names.

Kiko Loureiro, who made his name as a part of the Brazilian Power Metal behemoth, Angra, awed us with his fretboard wizardry and firmly cemented his seat alongside the legendary guitarists who have stood in his place. James Lomenzo on bass has a staggeringly impressive resume, having been an integral part of influential bands such as White Lion, Black Label Society and Slash’s Snakepit. Completing the all-star team, is the hard-hitting master of the skins, Dirk Verbeuren – formerly of Soilwork. Each of them are obviously virtuosos at their individual instruments, but together they are a force to be reckoned with. Spell-binding in their performances but always serving the song and Dave’s unique artistic vision.

The set concluded with the epochal, Symphony of Destruction and the thought-provoking, Peace Sells – a song whose lyrics are perhaps more relevant today than when they were first put to paper.

We were physically and emotionally spent by this stage. However, Megadeth weren’t done with us just yet. Dave Mustaine thanked the crowd in a speech that I’ve heard a million times before yet there was a palpable earnestness in the way he said it that I’ve seldom felt.

For an encore they played,

Holy Wars… The Punishment Due.

The audience reaction was a testament to the human spirit and its propensity for endurance as they moshed the hardest they had done all night.

The show ended after two massive hours, but Megadeth will live on eternally in our hearts and minds. Seeing the vast number of young fans who were probably seeing Megadeth live for the first time filled me with a sense of hope that I haven’t felt in a long time.

It’s easy to despair when we look at where music is now and reflect upon the lofty heights from which it fell. Do we push forward with optimism or calculate with pessimism? Perhaps the answer to that is a healthy dose of both and nobody has summed it up better than Dave Mustaine.

“If there's a new way
I'll be the first in line
But it better work this time.”

Megadeth & In Flames will be back on stage at the very first KNOTFEST AUSTRALIA kicking off tomorrow in Melbourne!

KNOTFEST AUSTRALIA 2023
LINE UP:
 
Slipknot | Parkway Drive | Megadeth | Trivium | Northlane | Amon Amarth
 In Flames Knocked Loose | Spiritbox | Story Of The Year | Alpha Wolf
 Void Of Vision | Bad Omens | Malevolence

DATES AND VENUES:
Friday 24 March 2023 – Flemington Racecourse, Melbourne SOLD OUT
Saturday 25 March 2023 – Centennial Park, Sydney SOLD OUT
Sunday 26 March 2023 – RNA Showgrounds, Brisbane SOLD OUT

Information available at destroyalllines.com

March 24th, 2023 – Flemington Racecourse, Melbourne

Saturday 25 March 2023 – Centennial Park, Sydney

Sunday 26 March 2023 – RNA Showgrounds, Brisbane 

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Gig ReviewsReviews
March 23, 2023
Nikki Eenink

[Review] Boston Manor & Movements @ Croxton Hotel, Melbourne 19/03/2023

At first, I was hesitant of going to a late-night gig on a Sunday night. Afterwards, I couldn’t imagine a better way to spend a night. I left The Croxton sweaty, red-faced with sore feet, but feeling oh-so alive and energised. What a treat it was to see emo heavy-weights Boston Manor and Movements back-to-back, with strong support from underground Australian gem, Bad Juju.

Walking into The Croxton, I don’t think I’ve ever seen the venue so full for a support act. The room is alive and buzzing, Bad Juju hyping them up so much it’s unreal. A pit is open in the middle of the mosh, and young men are throwing punches and kicks into the air. Bad Juju bark out a single instruction; “Bang your fucking heads”, before launching into Disappoint. The five-piece are absolutely killing it on instrumentals, working very much as a unit, and it shows. Finishing with Bloom, from their first EP Hidden Desire, they left that room hungry for more. Expect big things from these Melbourne hardcore beginners in the years to come.

Next up are Blackpool natives, Boston Manor. Even at soundcheck, the drums are so loud I swear my eardrums are about to burst. The stage is suddenly bathed in red and orange light, and they play the haunting, titular track of their newest release, Datura. There’s a “calm before the storm” energy flowing in that room. We all know it’s about to go hard, but when? Boston Manor have us completely under a spell. Front-man Henry Cox is not one to mess around. As the song draws to a close, he screams into the microphone, “Melbourne! Take some steps forward. Come on! Come on! Let’s fucking go!” He is giving us everything he can, hair sticking to the sides of his face already. The crowd seem a little hesitant to go full-out, and Cox can sense that, and won’t stand for it. “I know it’s a Sunday, but wake the fuck up, it’s the last day of tour. Open up a pit in the middle. First person to mosh wins a free t-shirt!” And then, he repeats again, “Let’s fuckin go!” They wind their way through Datura, the crowd is starting to go crazy. Halfway through the set Cox takes a minute to address us again, “This next song features an Australian, John Floreani.” Floreani comes onstage to sing Liquid with them. Having gone to high school in Newcastle, I have a deep love for Floreani (maybe our most valuable export), and audibly gasp. There is a chill in the room, and we all stand very still, in amazement. The crowd cheers along with me when the track finishes, and then immediately start yelling “Shooey! Shooey! Shooey!” Cox quickly shuts us down; “God, so original you Australians. John said if you do one once, you’ll be made to do it every time. I’ve never done one, and I never will.” And so, with some mumbling and grumbling, we settle down. The standout moment of Boston Manor’s set is the track, You, Me and the Class War. “A lot of our music is inspired by where we’re from.” Blackpool is the worst city in England for poverty, and so the political rage and personal-nature of the song, come out of the band with such intensity and ferocity – like they are starting a revolution in that room. Halfway through the song, right before the screamy, heavy and intense bridge, Cox takes a minute to once again bark instructions at us.

“Alright, I need you to split this room in half.”

We all know what’s coming – The Wall of Death.

“I promise you, it’s fun. A few rules,

  1. Don’t be a dick
  2. Care about each other. If someone falls pick them back up.

And the secret third rule,

  1. Have a lot of fucking fun”

It’s immediately clear to me that the band cares deeply about safety and respect at their shows. I have always found emo and hardcore moshes to be wonderful spaces of unity, community and controlled aggression. At the front of The Wall are some big guys, shirtless, and some of the smallest gothic girls in Hellraiser platform boots. Worthy opponents.

Then, the build starts.

This ain’t love / This is a class war.

People shuffle from foot-to-foot, ready.

This ain’t love/ THIS IS A CLASS WAR.

Cox screams into the microphone, lights strobe, and the crowd runs, full-force into each other. It’s electrifying. Any reservation or fatigue we felt at the start of the night is gone. We are going for it with everything we have – and so are they. They finish with a reminder to buy merch from smaller bands, to go to local gigs, to keep having nights as thrilling as these, we have to keep independent music alive.

A few weeks ago, I had the pleasure of interviewing Movements’ front-man, Patrick Miranda. He was very chatty, introspective, sensitive and calm when we spoke. I’ve been a fan of Movements since their conception, and I knew this was going to be a special night for me, and for everyone. We were in Miranda’s hands, and I trusted him to take us for one hell of a ride.

I wasn’t wrong.

The Orange County band comes onstage. Miranda steps forward and grabs the microphone, “You know what Australia is known for? Going fucking crazy at shows. I need you to move up, move up, move up. Fill this room up and get ready to show me what you can do.” I’m now three rows from the front, sticking to the people around me, toes crushed, and electrified.

They start off strong with Third Degree and wind their way through a collage of songs from their various releases. Bookmarking the set, was new release, Cherry Thrill. It’s pop-ier than their previous songs, but Miranda was delighted about trying out a new sound for the band when I spoke with him. The crowd was not disappointed by the change. People were dancing at a hardcore show; spinning, and singing along. Next up, was Full Circle. A favourite of mine, and the rest of the crowds. Whatever space and reprieve we had before was gone. We were now clamouring over each other to scream these lyrics at the band. Miranda turns the mic towards us, and a wave of sound echoes back at him.

Without a struggle there can’t be progress/ ‘Til it comes around again

Miranda has openly struggled with Obsessive Compulsive Disorder and Depression, but expressed his reluctance with me to become a “martyr” or a “spokesperson” for mental illness. He is not a martyr to us; he is one of us. Movement’s lyrics understand us, all of the feelings we think we have to face alone. As I scream with a chorus of other voices, all of them heavy with feeling, heavy with the pain and grief and love and redemption; I realise I am not alone. That is the power of Miranda’s lyricism and of Movements musicianship.

 It comes in waves/ and I’m pulled below/ It’s not subjective, it’s clinical

 I love very few things the way I love Daylily, the iconic track from Movements 2017 release; Feel Something. The track was released in my last year of high school, and I’ve spent many years since screaming those words into my pillow or in the car. It helped me through those years of being very young, very angry and very sad, and brought me here – still young, but only a little angry and a little sad. I’ve never known someone who shares my same affinity for Feel Something. And then, suddenly, I was in the middle of it. Surrounded by other sweaty bodies, jostling, and jumping, all of us turning red, giving ourselves tinnitus, and bursting veins to scream along:

But the sunrise will come again/ And you’ll be just fine / You’ll be just fine.

 We are such a chorus, in fact, that lead-singer Patrick Miranda, points the microphone to us several times during the song, a little grin coming onto his face. He grabs an old-school video camera to film the crowd, and I see people’s hands turned into hearts, boys trying to crowd-surf, and everyone pushing as far forward as humanly possible. We are a single body.

When Movements finish, and the night is done, the song A Thousand Miles by Vanessa Carlton starts playing. Its piano intro is so silly, the song itself basically a meme. And I am so emotional seeing all these people; goths, business wear dads, surfer bros and any other members of the rag-tag crew that was there tonight. All of them, with tears down their face, drenched in sweat and emotional liberation, sing along to such a silly song. They hold hands and link arms and skip or kiss each other on the cheek. I am overwhelmed with joy. I don’t think I’ve ever had sweeter dreams.

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Gig ReviewsReviews
March 14, 2023
Nikki Eenink

[Review] Mom Jeans @ Corner Hotel, Melbourne 12/03/2023

I was blessed with a treat for my inner teenager this week. Opening the night at The Corner Hotel was Suzi, a fairly new heavy hitter in Melbourne’s growing angry-girl-rock scene. Following on her heels was new emo fixture, Microwave. Then, after a night of high-energy dancing and cheering, comes Mom Jeans, the Pasadena natives who wrote the soundtrack of many people’s adolescence.

Suzi very much embodies contemporary Melbourne. She is an anti-folk newcomer, following in the footsteps of Australian icons, Camp Cope and Courtney Barnett. One of the things I love most about Suzi is how strongly she keeps her Australian accent in all her songs. She is embracing who she is, the city and the country that made her. She sings about the young Australian experience, unapologetically. To describe Suzi’s music, I would say it is a musical coming-of-age story. Songs like Amelia make me want to ride my bike around the backstreets in a movie-montage. I was struck by how unique and kitsch Suzi’s aesthetic is; a mullet/shag combo with bleached streaks on the front and sides, Haus of Dizzy earrings, band shirt. The song Everyone I’ve Met Hates Me hit the room hard. People were still moving, but with the weight that we have all had these feelings. Towards the end of the song, Suzi picks up the energy to a level not in her Spotify repertoire. The band is going crazy, and she’s singing her heart out into the mic. We are eating out of her hand. Looking into a mirror.

Following on with a short intermission are new(ish) post-hardcore guys, Microwave. A group of 4 guys, who you would not pick to be in a post-hardcore band. The front man, Nathan Hardy, is wearing a backwards baseball cap and looks very much like the high-school jocks from teen movies. The rest of the band, brothers Tyler and Travis Hill and drummer, Timothy Pittard, are all wearing non-descript black t-shirts. These are guys who could be anyone, totally unassuming. But then the music comes. Gritty, heavy on the drums, with guitar shredding and reverb pedals galore. Both Hill brothers are jumping around stage, somehow keeping a grip on their instruments. The room isn’t so much dancing as they are head-banging, hands thrown up in the air. The song keeping up was an absolute highlight of the set, with the foursome giving everything they’ve got to the crowd, who match that energy and keep pushing it higher. While the Atlanta natives are still fairly underground, I would pay close attention. It’s hard to toe a line between sensitivity and hardcore, and no one does it quite like Microwave.

Since many emo bands disbanded in the 2010s, it is oh-so rare to see a band as prolific as Mom Jeans continuing to tour, especially in Australia. But fear not! “If you keep coming to our shows, we’ll keep coming here! This is in our Top 4 places in the world to perform” (I wonder who came second, third and fourth). Keep going to shows, keep the spirit of teenagerhood, of community and embrace the silliness of nostalgia, and the shows will keep coming.

I was not a happy teenager. Maybe it was the 2am Tumblr scrolls, questionable Omegle calls, a chemical imbalance in my brain – we may never know. Something I do know, however, is that very few people who listen to emo music like Mom Jeans were happy teenagers. Convinced we wouldn’t survive high school, with no plans to live beyond 20. The future seemed like a dark, endless tunnel. And yet, there we all were at The Corner Hotel, covered in tattoos, scars, heavy eyeliner, band shirts, beaming grins and tear-streaked cheeks. Scanning the periphery of the room I saw couples embracing, an older woman singing along with her 20-something son, a young dad, and his daughter – wearing a Trophy Eyes shirt and blue crocs.  We all did make it. The future is now, and we are making it together – the wonderful soundtrack of Mom Jeans becoming an anthem of survival. Throughout the entire set, the crowd was screaming every line, word perfect, reaching the same volume levels as the band. And louder still, there were frequent heckles ‘fuck yes!’ ‘do a shoey’ or just ‘WOOOOO!’ at the top of someone’s lungs. It was euphoric.

The songs which I took so seriously in high school were being performed by a group of guys who looked like regulars at the local pub. Lead singer Eric Butler is rocking a mullet and moustache (très Melbourne Chic), Austin Carango on drums, wearing a baggy black shirt and baseball cap, and bassist Sam Kless wearing… very little. By the time I could see the stage through the sea of arms and bobbing heads, his shirt was off. It took all of about 3 minutes. The band don’t take themselves seriously at all, they embrace the goofiness, the jollity and the imperfection which all come with making music for a sea of SSRI teenagers unhappy with their hometown. They do, however, take the music seriously. They are seriously tight. Playing amazing math-rock riffs, never missing a single drum beat or tempo change. It’s very clear that the guys behind Mom Jeans love music, but equally love having fun. That’s the best way to describe the energy in that room, fun. After playing *Sobs Quietly*, Butler starts the opening riff to Weezer’s ‘Say it Ain’t So’; the rest of the band immediately join in, until Butler stops and says “We didn’t write that one. But we did write this”, and the foursome immediately break into White Trash Millionaire. One guy starts crowd surfing, his old-skool vans making him indistinguishable from everyone else in the room. The big guys in the middle of the room start moving around with ferocity only matched by the short girls in fishnets dominating the mosh. They break into several other iconic Rock openers in between songs, almost like we are privy to a rehearsal session, or a goof-off between friends. Everything from Nirvana’s ‘Smells Like Teen Spirit’ to Red Hot Chilli Peppers’ ‘Can’t Stop’. Music is about having fun, doing goofy homages to those acts who came before us who we love, embracing meme culture. Mom Jeans’ ability to include the audience in their jokes, breaks down the barrier between artist and audience – they too were unhappy teenagers, potentially with a horrendous side fringe, who made it through – and we see ourselves in them, and they in us. What a beautiful thing.

The song Edward 40 Hands helped bring the show to an end. Super high energy, lots of off-beat jumping and flailing limbs and flying beer. There was not a person in that room who didn’t know those words:

I don’t mind / That you lie sometimes / Because I lie too / Yeah, I’m just like you

Guitarist Bart Thompson began motioning for the audience to sing even louder. He abandoned his strumming and focussed on getting the energy up. There was no way to tell where the mosh ended and the floaters on the side of the room began – everyone was spending all their energy in this final moment of nostalgic bliss.

Finishing with their encore of Vape Nation 2.0, a heartbreaking solo song performed solo by front-man Butler, I saw people crying. These songs carried us through adolescence, but they hit so much harder as an adult. Butler’s voice cracked on the opening stanza;

I’m scared of losing touch/ I’m forced to ask if you know that/ The reason I try so hard to be nice/ Is so no one else will leave me behind

No one was screaming during this song, just tearful singing. Mom Jeans lyrics sting, but they also make us laugh, dance, scream. The community many of us thought we didn’t have, was made in that room.

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FeaturedNews
March 9, 2023
STM

Make Them Suffer Celebrate 10 Years Of ‘Neverbloom’ With Anniversary Tour

With just over ten years since the release of their staggering debut album Neverbloom, Aussie metal leviathans MAKE THEM SUFFER have continued to flourish in the decade that has since passed.

To celebrate, Neverbloom will now be available for the first time on vinyl and the album remaster available now on all streaming platforms. 

Purchase/stream Neverbloom here

MAKE THEM SUFFER will also pay homage to the album that started it all with the Neverbloom 10 Year Anniversary Tour this May and June, with special guests FIT FOR AN AUTOPSY all the way from New Jersey, as well as metalcore locals OCEAN SLEEPER.

“Neverbloom holds a profound significance in our hearts as it embodies the very essence and cornerstone of our musical identity. Despite our departure from it’s sound over the years, the album remains indispensable in our catalogue, as it continues to this day to inspire our artistic pursuits. We couldn’t be more excited to perform some of these songs for the first and last time live and we can’t wait to see you all there!” – Sean Harmanis, Make Them Suffer

Following an enormous 2022, including the addition of new fifth member Alex Reade on vocals and keyboards, the release of a brand new single Doomswitch, extensive American support slots with rockers Bad Omens and a completely sold-out national headline run in October, the brand new chapter for MAKE THEM SUFFER continues to go from strength to strength without sacrificing the quintet’s trademark balanced beauty and chaos. 

Roaring back to life following an extensive break away from music during the COVID-19 pandemic, absence has well and truly made the heart grow fonder and stronger for MAKE THEM SUFFER. Releasing their first EP Lord of Woe back in 2010, the band have since unleashed four studio albums into the world, including their most recent full length endeavor: the acclaimed 2020 outing How to Survive a Funeral. Having toured at home and around the globe alongside the likes of Wage War, After The Burial, Ice Nine Kills and Born Of Osiris amongst many others over the years, the group’s latest single Doomswitch has gone on to generate over 4.5 million streams on Spotify alone, with the accompanying music video also snagging 1.5 million views in a short space of time.

Set to join Spiritbox and Reliqa for a special Knotfest Australia sideshow later this month, with their first ever performance in Darwin also lined up on Saturday 10 June, MAKE THEM SUFFER‘s upcoming Aussie headline shows are undeniably set to be something special, both for fans and the band themselves paying equal homage to their sonic cornerstone and their tantalising musical future as they revisit 2012’s Neverbloom.

Hailing from New Jersey, American heavies FIT FOR AN AUTOPSY are masters of demolishing genre lines and embracing sonic evolution. From the release of their debut album The Process of Human Extermination to their 2022 masterpiece Oh What the Future Holds, FIT FOR AN AUTOPSY forge hard-hitting narratives into their unique take on the deathcore realms and beyond, constantly praised for their diversity, expert craftsmanship and thunderous, occasionally haunting, arrangements.

Having previously toured with the likes of Lamb Of God, Killswitch Engage, In Flames, Sepultura and Thy Art Is Murder, as well as festival appearances spanning Blue Ridge Rock Festival, Aftershock and Hammerfest to name a mere few, FIT FOR AN AUTOPSY continue to command global attention via their earth-shattering execution and consistent ability to elevate their genre after over a decade of existence – and the band are definitely not showing any signs of slowing down. Icons in their field and capable of rattling bones in the best possible way, FIT FOR AN AUTOPSY continue to be one of the most exciting modern heavy bands with each new release and performance.

Swiftly evolving from playing hometown shows in regional Victoria to commanding sold out national shows and chart-smashing releases, metalcore up-and-comers OCEAN SLEEPER have been making insatiable waves since forming back in 2016. Releasing their debut EP Six Feet Down in 2017 to coincide with their addition to Unify Gathering’s lineup alongside Alexisonfire, Every Time I Die and Northlane, OCEAN SLEEPER soon garnered rave reviews for their raw and melodic debut album Don’t Leave Me This Way in 2019. From touring with the likes of Killswitch Engage and Atreyu to a headline run in 2022, you should definitely never sleep on a chance to catch OCEAN SLEEPER live in action.
 
Set to bring some of the most astonishing live performances of 2023 to a town near you, don’t miss securing your tickets to celebrate 10 years of Neverbloom in unforgettable fashion.

Early bird pre-sale tickets on sale Thursday 9 March @ 11am AEDT Time
 
To Gain Early Ticket Access Register Here -> https://bit.ly/23MTSsignup

General tickets on sale Tuesday 14 March @ 12pm AEDT Time
Tickets from destroyalllines.com

Destroy All Lines, New World Artists, Open Door Management & Greyscale Records Presents

MAKE THEM SUFFER
NEVERBLOOM 10TH ANNIVERSARY TOUR
WITH SPECIAL GUESTS
FIT FOR AN AUTOPSY (USA)
OCEAN SLEEPER
 
THURSDAY 25 MAY – PRINCESS THEATRE, BRISBANE (18+)
FRIDAY 26 MAY – NEWCASTLE HOTEL, NEWCASTLE (18+)
SUNDAY 28 MAY – METRO THEATRE, SYDNEY (18+)
WEDNESDAY 31 MAY – THE BASEMENT, CANBERRA (18+)
THURSDAY 1 JUNE – 170 RUSSELL, MELBOURNE (18+)
SATURDAY 3 JUNE – FAT CONTROLLER, ADELAIDE (18+)
SUNDAY 4 JUNE – MAGNET HOUSE, PERTH (18+)

General tickets on sale Tuesday 14 March @ 12pm AEDT Time
Tickets from destroyalllines.com

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