[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
[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!
[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
[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,
- Don’t be a dick
- Care about each other. If someone falls pick them back up.
And the secret third rule,
- 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.
August Burns Red – Death Below
For the uninitiated, August Burns Red (ABR) are a two-time Grammy nominated metalcore band from Lancaster Pennsylvania. Since their inception they have, for the most part, been labeled a “Christian Metalcore” band. Whilst their members are indeed Christians, this in no way indicates that ABR preach , nor do they push any agenda. They are merely musicians who wish to entertain.and who pride themselves in generally promoting positivity and being positive influences.
Forming in 2003 while still in High School, drummer Matt Greiner, and guitarists Brent Rambler and John Benjamin (JB) Brubaker have been the foundation of the band, with vocalist Jake Luhrs and bassist Dustin Davidson both joining in 2006, and together they all remain to make up the current line up.
ABR have made a name for themselves as being a very melodic and atmospheric metalcore band, with some occasional progressive vibes also. Jake Luhrs, unlike many other metalcore vocalists, does not lend his vocals to both screams and clean vocals too much. His are mostly scream vocals.
The upcoming tenth studio album, titled Death Below, is due for release 24/3/2023, and features some heavy hitters in Jesse Leach ( Killswitch Engage) ,Spencer Chamberlain (Underoath), Jason Richardson ( Chelsea Grin and All That Remains) and also JT Cavey (Erra).
In fact the tracks featuring both Jesse and Spencer were some of the first to be released. Ancestry was released on November 3rd 2022, and Reckoning was released on February 22nd, both being received exceptionally well when you look at the plays across all platforms.
One thing that is apparent when listening to Death Below, is that this album seems markedly more deep, dark and personal. Given that writing for this album started right at the beginning of the global pandemic, it is not surprising that there is a vast array of heavy emotion transcending through both the lyrics and music. It was a time in the lives of our generation that was full of dread, with fear of the unknown at times becoming paralyzing for some people. Parts of the world were crippled financially, and we viewed our health, and our place in the world so much more differently than we did before.It took it’s toll on so many, yet, through music ABR have unleashed their feelings and have come through the other side with an album that is sure to be yet another success.
Opening with Premonition, this intro track lulls you in with an airy sound, with unusually clean spoken vocals and then smacks you fair in the face as it shifts seamlessly into The Cleansing. In very typical ABR fashion this is technically brilliant, with exceptionally captivating riffs, and a very likeable melody. At 7:48 minutes long, it takes you on a real progressive sonic journey.
Ancestry, the track featuring Jesse from Killswitch Engage. is dark and heavy both lyrically and musically. It gets in your face from the get-go as it imparts on feelings of abandonment, and anger within the family. It can be interpreted to reflect many varied family situations and is sure to resonate with fans. This track is touted as being one of the darkest and most personal Jake has ever written. Definitely a highlight of the album for me.
Next up is Tightrope, with the added dimension of having Jason Richardson impart some of his touch. A moderate track of 4:14 long, it is intricate and powerful.
Leading in with a gentle and mesmerizing sound, Fool’s Gold In the Bear Trap quickly hits you with a wall of sound at 1:47 and is unrelenting until the end.
Backfire has a really strong message within it, along the lines of being responsible for your own decisions. Don’t be influenced by others, and choosing wisely who you follow.
Revival is next, followed by Sevink, which is a 1 minute 23 second shot in the arm of hope and peace amongst all the darkness, or at least that’s how it felt to me.
Dark Divide and Deadbolt come next, both staying true to the ABR formula of searing riffs and solid breakdowns, however I personally found Deadbolt to be a little more catchy and memorable. I found myself going back to it over and again.
The Abyss is a track which features artist JT Cavey. I found this track to have the cadence and melody of some old school thrash in parts which I really liked.
Reckoning closes out the album, featuring Spencer Chamberlain from Underoath, a band very close to the ABR boys, so it was a very natural collaboration.
All in all, Death Below is yet another feather in the cap of August Burns Red. They have consistently provided absolutely stellar music over the years, maintaining their style, their perfectly intricate musicianship and are a testament to the theory that sticking to the formula that works for you, is often times what the legions of die hard fans want to hear. They don’t vary too much from their tried and true way of doing things, and that’s ok. If you like it ,you like it. And if you don’t, then you don’t. Masses of metalcore fans across the globe love it, and that is a great reason to keep following the path that has brought them so much success to date.
Death Below is out 24/3/23, so if you like what you have heard from August Burns Red before, be sure to check it out. It’s been a long time since we saw them here in 2019, so let’s hope we can get the boys back down, as their last tour kicked some serious ass.
Måneskin Announce First Ever Headline Tour Of Australia
SOLD OUT LOUD KIDS WORLD TOUR CONTINUES IN EUROPE AND UK WITH OVER 20 ARENA SHOWS TO COME AND OVER 500,000 TICKETS SOLD
GLOBALLY ACCLAIMED NEW ALBUM RUSH! HIT #1 IN 15 COUNTRIES, TOP 5 IN 20 COUNTRIES, #1 ON BILLBOARD ALTERNATIVE ALBUMS CHART
OVER 800 MILLION GLOBAL ALBUM STREAMS
Rock phenoms Måneskin have announced their first ever headline tour of Australia as they bring their RUSH! World Tour to Brisbane, Sydney, Melbourne and Adelaide this November.
Bringing their raucous live set and phenomenal production, the tour will hit Australia in November, kicking off in Brisbane at Brisbane Convention and Exhibition Centre on November 20, before moving through Sydney to play Hordern Pavilion on November 22, Margaret Court Arena on November 23 and finishing up in Adelaide at Adelaide Entertainment Centre on November 24.
Tickets go on sale Friday March 24 at 9am local time, with a 46 hour TEG Live/Ticketek/Venue early access sale on sale Wednesday March 22 at 11am local time.
Following sold-out shows across the globe, the RUSH! World Tour continues the band’s march towards global domination. On what it means to take their raucous live set to Australia, Måneskin enthuse, “We can’t wait to come to Australia, it will be the first time for all of us so we’re pretty much curious about everything, especially the crowd. It feels crazy to finally be able to meet our fans there!”
Armed with a 2023 Grammy nomination for Best New Artist, Måneskin’s RUSH! world tour will see them headline arenas across the US and Canada, including a landmark show at New York’s historic Madison Square Garden. They’ll be crossing continents to rock their way around South America, Japan, Singapore, Germany, France, the UK and Ireland.
The RUSH! World Tour will follow on from Måneskin’s ongoing LOUD KIDS World Tour which continues to see them sell out shows globally and play to over 500,000 fans. With over twenty sold out shows still to come on their current tour, and Australia’s first stop – Brisbane marking their twentieth show on the RUSH! tour, there is no denying we are in for an absolute treat when this iconic act heads down under. Notorious for their stomping live show, it’s no secret the band love winning over new audiences, with Måneskin firing up, “We want to thank our fans in Australia, we are coming for you! Expect fire, stage smashings and lots of sweat!”
The full throttle Måneskin live show has already travelled to over 25 countries between Europe, North America, South America and Japan in 2022, saw the band go back to their beloved Rome for an extra special sold out show at the historic Circo Massimo with 70,000 tickets sold, and between headline shows the band dominated festival stages around the world including Coachella, Rock in Rio, Lollapalooza (Chicago, Paris and Sweden), Rock Im Park and Rock Am Ring, Rock Wertcher, Summer Sonic in Japan and more.
Before hitting the road again for the RUSH! World Tour, the band will play 5 special stadium shows in their beloved Italy in July with more than 220,000 tickets already sold. And alongside both tours, Måneskin will be commanding stages at Glastonbury and Primavera Sound.
The RUSH! tour follows the band’s new album of the same name, released in January 2023 to global acclaim and chart domination, reaching #1 in 15 countries and Top 5 in 20 countries, and garnering over 800 million global album streams, adding to the band’s impressive 7.3 billion global artist streams.
Tickets to the RUSH! Australian leg go on sale Friday March 24 at 9am local time.
RUSH! AUSTRALIA TOUR DATES
MON 20 NOV | BRISBANE CONVENTION AND EXHIBITION CENTRE, BRISBANE QLD | ALL AGES
Tickets available from: https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23 | 132 849 | All Ticketek Outlets
WED 22 NOV | HORDERN PAVILION, SYDNEY NSW | ALL AGES
Tickets available from: https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23 | 132 849 | All Ticketek Outlets
THUR 23 NOV | MARGARET COURT ARENA, MELBOURNE VIC | ALL AGES
Tickets available from: https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23 | 132 849 | All Ticketek Outlets
SAT 25 NOV | ADELAIDE ENTERTAINMENT CENTRE, ADELAIDE SA | ALL AGES
Tickets available from: https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23 | 132 849 | All Ticketek Outlets
TEG LIVE, TICKETEK AND VENUE PRE-SALE COMMENCES:
Wednesday 22 March 11am to Friday March 24 9am (local time)
TEG LIVE – https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23&eg=PROM&ep=PROMOTER
TICKETEK – https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23
VENUES – https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23&eg=VENUE&ep=VENUE
GENERAL PUBLIC ON SALE:
Friday March 24 9am (local time)
https://premier.ticketek.com.au/shows/show.aspx?sh=MANESKIN23
RUSH! World Tour
***NEW tour dates***
September 3, 2023 – Hanover, Germany – EXPO Plaza
September 6, 2023 – Nancy, France – Nancy Open Air
September 21, 2023 – New York, NY – Madison Square Garden
September 23, 2023 – Columbia, MD – Merriweather Post Pavilion
September 25, 2023 – Boston, MA – TD Garden
September 27, 2023 – Toronto, ON – Scotiabank Arena
September 29, 2023 – Chicago, IL – Allstate Arena
October 1, 2023 – Detroit, MI – Michigan Lottery Amphitheatre at Freedom Hill
October 3, 2023 – Nashville, TX – Nashville Municipal Auditorium
October 6, 2023 – Irving, TX – The Pavilion at Toyota Music Factory
October 10, 2023 – Los Angeles, CA – Kia Forum
October 13, 2023 – Oakland, CA – Oakland Arena
October 15, 2023 – Vancouver, BC – Doug Mitchell Thunderbird Sports Centre
October 20, 2023 – Mexico City, Mexico – Palacio De Los Deportes
October 24, 2023 – Bogotá, Colombia – Movistar Arena
October 27, 2023 – Santiago, Chile – Estadio Bicentenario La Florida
October 29, 2023 – Buenos Aires, Argentina – Movistar Arena
November 1, 2023 -Rio de Janeiro, Brazil – Qualistage
November 3, 2023 – San Paulo, Brazil – Espaço Unimed
November 20, 2023 – Brisbane, QLD – BCEC
November 22, 2023 – Sydney, NSW – Hordern Pavilion
November 23, 2023 – Melbourne, VIC – Margaret Court Arena
November 25, 2023 – Adelaide, SA – AEC Theatre
November 27, 2023 – Singapore
December 2, 2023 – Tokyo, Japan
December 3, 2023 – Tokyo, Japan
December 7, 2023 – Kobe, Japan
December 14, 2023 – Dublin, Ireland – 3 Arena
December 19, 2023 – Manchester, UK – AO Arena
LOUD KIDS World Tour
2023 tour dates
February 23, 2023 – Pesaro, Italy – Vitrifrigo Arena SOLD OUT
February 25, 2023 – Turin, Italy – Pala Alpitour SOLD OUT
February 27, 2023 – Amsterdam, Netherlands – Ziggo Dome (previously at: AFAS LIVE) SOLD OUT
March 2, 2023 – Brussels, Belgium – Forest National SOLD OUT
March 3, 2023 – Brussels, Belgium – Forest National SOLD OUT
March 6, 2023 – Berlin, Germany – Mercedes Benz Arena SOLD OUT
March 10, 2023 – Cologne, Germany – Lanxess Arena SOLD OUT
March 13, 2023 – Paris, France – Accor Arena (previously at: Zenith) SOLD OUT
March 16, 2023 – Bologna, Italy – Unipol Arena SOLD OUT
March 17, 2023 – Bologna, Italy – Unipol Arena SOLD OUT
March 20, 2023 – Florence, Italy – Nelson Mandela Forum SOLD OUT
March 21, 2023 – Florence, Italy – Nelson Mandela Forum SOLD OUT
March 24, 2023 – Rome, Italy – Palazzo dello Sport SOLD OUT
March 25, 2023 – Rome, Italy – Palazzo dello Sport SOLD OUT
March 28, 2023 – Naples, Italy – Palapartenope SOLD OUT
March 29, 2023 – Naples, Italy – Palapartenope SOLD OUT
March 31, 2023 – Bari, Italy – Palaflorio SOLD OUT
April 3, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
April 4, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
April 6, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
April 11, 2023 – Barcelona, Spain – Palau Saint Jordi SOLD OUT
26 April 2023 – Zurigo, Svizzera – Hallenstadion (previously at: Halle 622) SOLD OUT
April 28, 2023 – Vienna, Austria – Wiener Stadthalle SOLD OUT
30 April 2023 – Esch-sur-Alzette, Luxembourg – Rockhal SOLD OUT
May 2, 2023 – Copenhagen, Denmark – The Royal Arena
May 5, 2023 – Milan, Italy – Mediolanum Forum SOLD OUT
May 8, 2023 – London, UK – The O2 Arena (previously at: O2 Academy Brixton) SOLD OUT
May 12, 2023 – Warsaw, Poland – Torwar Hall SOLD OUT
May 14, 2023 – Prague, Czech Republic – O2 Arena (previously at: Malá Sportovní Hala) SOLD OUT
May 16, 2023 – Budapest, Hungary – Budapest Arena (previously at: Barba Negra) SOLD OUT
May 18, 2023 – Riga, Latvia – Mežaparks Grand Stage (previously at Arena Riga) VENUE UPGRADE
19 May 2023 – Tallinn, Estonia – Saku Suurhall SOLD OUT
Stadium shows in Italy
16 July 2023 – Trieste, Italy – Stadio Nereo Rocco
20 July 2023 – Rome, Italy – Stadio Olimpico SOLD OUT
21 July 2023 – Rome, Italy – Stadio Olimpico
24 July 2023 – Milan, Italy – Stadio San Siro SOLD OUT
25 July 2023 – Milan, Italy – Stadio San Siro
[Review] Overmono @ Northcote Theatre, Melbourne 17/03/2023
Fresh off their amazing performance at Pitch Music and Arts Festival in Victoria’s Grampian plains, Welch electronic duo Overmono debuted in Naarm/Melbourne last night at Northcote Theatre. Brothers Tom and Ed Russell came together as Overmono in 2015, dropping their first EP under the name in 2016. With a stream of hit singles and EPs under their belt, the duo is primed to drop their first full-length album this may with Good Lies.
As it was my first time visiting the Northcote Theatre, I was keen to check out the venue and see what it had to offer. Featuring two accessible levels with a bar on each floor and a balcony watching over High Street, the theatre was like an old town hall refurbished like a giant nightclub suitable for the parties of the future. I’m keen to return for another gig as it definitely had a vibe I could get behind.
Opening for Overmono was Naarm based producer Kia combined shades of IDM, techno and trance, weaving together musical narratives that have granted them recognition from local and international labels. Lining up shows in Amsterdam, Norway and more later in the year, Kia is a name to be watched in the electronic scene, even with just a single track released on Spotify.
Next, we were blessed with the sounds and rhythms of Mparntwe/Alice Springs producer RONA. Featuring soundscapes that blend the background of country and place with emotionally packed synth melodies reminiscent of desert life mixed with club euphoria, RONA mixed in a good dose of drum and bass rhythm for good measure to get the energy flowing and the crowd moving.
Hitting the stage later in the evening, Overmono delivered a packed set of non-stop ragers. Combining intimate vocal samples, Kid-A-esque pad synths and booming two-step beats, the duo mixed between older material and key new album tracks with a focus on continuity. A track would slowly morph into another, with the vocal chop slowly coming into focus from the next track, and the audience screaming in delight in response. The push and pull created by the build towards catharsis acted as a brilliant narrative for the hour and a half DJ set.
The Welsh duo clearly have a love for dogs, with Dobermans being a staple of their new album art and tour imagery. Glitched out visuals of the dogs cuddling, fighting and running glowed on screen behind the DJs, with their slow-motion running acting as a counter to the fast grooves moving our feet.
Favourite tracks included Bby, Is U, So U Know, Bone Mics and their fantastic remix of For Those I Love’s anthem I Have a Love. Dancing to Overmono is a blissful feeling, like a rave on a cool summer night where the vibe is just right, and the company is perfect.