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Gig ReviewsReviews
May 18, 2023
STM

[Review] Damien Rice @ Hamer Hall, Melbourne 16/05/2023

Review By Terri Nas

An icy Tuesday night in Melbourne saw a sold-out crowd venture to Hamer Hall to be entertained by the brilliantly talented Damien Rice. With no support act to warm the audience up, we were ready and waiting for the houselights to go down.  The mood was sombre, hypnotising, but full of anticipation, and it felt as if the whole audience was in a complete trance right from the beginning. The intimacy of the venue and stage set up, and the strict no phone policy meant that you could’ve heard a pin drop, and Damien was given our undivided attention as we were eased into the first song of the evening. 

With an array of no less than 4 guitars on stage and some electronic keys, Rice seamlessly floated from instrument to instrument and for the 1 hour and 45 minutes he was on stage, we were treated to the highlights of his back catalogue. Delicate opened proceedings, followed by Insane & then a beautiful piano arrangement of one of my personal spine-tingling favourites, 9 Crimes.

The extremely dim & minimal stage lighting almost felt as if we were all intruding on a private and vulnerable moment, which also added a layer of mystery, as story after story was told in the form of song. Throughout the show the lighting altered periodically, and it gave the illusion that we were watching the sunrise gradually over the duration of the show. A couple of numbers where the dynamic built up in intensity called for more bright and sporadically harsh lighting, which got everyone’s heart started and ensured we hadn’t got too complacent. 

Once we hit about the halfway mark of the set with the popular Cannonball, it was then that the wonderfully talented Francisca Barreto joined Rice on stage. Sitting behind her cello and with her beautiful vocal harmonies, Barreto added an extra rich depth to the songs being performed, kicking off with Astronaut.

Volcano was a huge crowd favourite and had the audience cheering extra loud and wanting more. The next tune was the more upbeat Coconut Skins, where we were told “you can sit on chimneys, with some fire up your ass”. We were then treated to Francisca’s solo vocals during I Remember, and her voice was truly angelic and hypnotising. 

A heckler from the audience yelled out a request for Elephant, in which Damien replied he hadn’t played it in so long so he wasn’t sure he could remember it. But he played the song flawlessly, much to the delight of the requester and the rest of the audience. Another audience member then yelled out a request to play Rootless Tree, and despite Damien’s minimal interaction with the audience in between songs, he hilariously responded “Am I the requests bitch now?” Nevertheless he jumped on the keys and obliged. 

As we approached the end of the set, I anticipated there wouldn’t be an encore given the vibe of the show. So now there was only one song left to play, another crowd favourite and his well-known hit The Blower’s Daughter. He serenaded us by  repeatedly singing  “I can’t take my eyes off you”, but Damien, it was us that couldn’t take our eyes off you. 

Rice is a true storyteller and with his hauntingly beautiful melodies, he has a way of easily tapping into your emotions before you even realise it. I got the impression, given the vibe of the night, that Rice’s songs were there to do the talking so he didn’t feel it necessary to verbally interact with the audience too much. This is definitely one of the most unique and moving gigs I’ve been to, and a truly wonderful experience.

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Gig ReviewsReviews
May 18, 2023
Nikki Eenink

[Review] Wu Tang Clan & Nas @ Rod Laver Arena, Melbourne 14/05/2023

Review By Nikki Eenik

I’m scared I may have accidentally joined a cult when I saw Wu-Tang Clan & Nas at Rod Laver Arena this Sunday. But let me go back to the beginning.

The ‘New York State of Mind Tour’ is a must for any fans of hip-hop, or music in general. Cultural icons Wu-Tang take us on a winding journey through the history of Hip-Hop, with strong support from fellow East-Coast rap heavy-weight Nas.

There is so much to cover about the insane production value of this tour. Nas and Wu-Tang take turns coming on stage, punching out hits, covers and freestyles – both old and new. Supporting Wu-Tang is a full live band, seated on top of a massive projection half-wall. Nas is going more low-key with it; a single drummer supporting him through it all. I have never, ever, seen a musician having more fun. This guy is going ham. We never even get his name but he steals the show, with his dreadlocks secured by ball-ball hair ties, face adorned with dark shades and a massive grin – he’s so clearly having the time of his life; and so are we. All of the musicians supporting the main acts are just unbelievably tight. The musicianship throughout the whole night is impossible to fake, especially with those tight turnarounds between acts and bands. Somehow, they pull it off, and it is fantastic.

After that little warm-up, the stage goes black. And the half-wall, two side screens, back wall and top projection screen all light up. Flashing both the Wu-Tang symbol and Nas moniker, glitching and moving across the screens, with soundbites from popular culture, including the famous: “I am the one who knocks” scene from ‘Breaking Bad’ and several scenes from ‘Scarface’. A wasp flies from screen to screen, before turning it’s attention to us. As it speeds towards us, the lights go black and the show begins in full swing.

Behind the acts there is a mix of AI-art; capturing Wu-Tangs vision of combining “Eastern philosophy picked up from kung-fu, teachings picked up on the New York streets and comic books”. If they say; “We are taking the ferry out to Staten Island” – we are. The New York skyline getting further away as we approach the ‘Hidden Burrow’. Above the band are the names of New York Underground stops and stations – all punctuating a different place in the timeline of East-Coast Hip-Hop. This isn’t just a concert, it’s a history lesson.

First up is Nas, 49-year-old East-Coast rapper, widely considered one of the All Time Greats. We are treated to an opener of Verbal Intercourse and King’s Disease 3. Nas is really in a league of his own. Every time he comes on stage he’s wearing something different, full of infectious energy and never skipping a beat or being out of breath despite controlling an entire stage on his own – armed only with the most iced out ring I’ve ever seen, and his incredible compadre up the back on drums.

Wu-Tang quickly tell us why we’re all here tonight, and why this tour is so significant. “Hip-Hop started in New York City in 1973, made its way around. We are here celebrating 50 years of Hip-Hop.” Several different members of the group jump in; “We don’t give a fuck where you’re from, it’s what you gotta say. Just remember: Wu-Tang Clan ain’t nothing to fuck with.” Then we get thrown into maybe their most iconic song, shockingly named; ‘Wu-Tang Clan aint nothing to fuck with.” Rolling through an extended cut of songs like C.R.E.A.M, some members of the group take position as crowd wranglers, they bark instructions at us “Swing your arms! Side to Side! Side to Side!” and there is 0 hesitation. Everyone in the group has role, even down to one member who is standing without a microphone, just hyping up the guys on stage. These guys are best friends – and it shows. There is such a profound love for each other that permeates the weed-smoke-filled air.

Nas returns with DJ Greenland to take us on a further journey, with songs like Eye for an Eye, and the personal highlight of his many sets; his cover of Everybody Wants to Rule the World, which transitioned perfectly into The World is Yours. ‘T H E W O R L D I S Y O U R S’ scrolls at the top of the stage. I’m not sure if that’s true, but I know that right now – Nas is our world, and we are his. The connection between performer and artist is unreal, especially for such a large stadium setting – as opposed to the cramped, underground performance spaces 90s Hip-Hop was born from.

Taking us on another stroll down memory lane, We are gonna play the first song Wu-Tang ever recorded”. And so they launch into a fiery rendition of Protect Ya Neck. Each member getting their turn on the mic, people harmonising with each other, freestyling off each other – we are watching music being made and remade in real-time. And it’s electric, nostalgic and poignant. We are gifted with a cover of Come Together by the Beatles. “It is the power of music that brings us all together. It doesn’t matter if you’re gay, trans, black, white, straight, purple – We are all here together. Even the great John Lennon knew that, Wu-Tang knows that, and I know you know that. So, sing this with me right now” But they aren’t the usual words, they go more like:

“Let me see you sing/ As loud as you can / Come together / Right Now/ Over me”

My god is it loud in here, but it all sort of washes over you and takes you into a trance. It’s all noise and lights and wholesome energy with a beautiful Wu-Tang and Nas shaped bow on top. There are 2000s babies in front of me who light up several joints throughout the show, and pass them down to the 70s babies a few seats over. Unconventional? Definitely. But community is what it’s all about. A bra gets thrown on stage, and passed around to ever member of Wu-Tang – sharing is the name of the game.

And now, there’s a bit of quiet. As we are bathed in purple light we are asked to hold up our hands into the Wu-Tang symbol. (Hands up, palms forward, thumbs together). Everyone in the room has their phone down and their hands up. “When I say Wu you say Tang”

Wu!
Tang!
Wu!
Tang!

Then the music starts again and we all move our hands up and down to the beat of Reunited.

Then, more quiet. “Hold up that symbol again” – We do (obviously). “When I say ‘Hip-Hop’ you say ‘Peace’”

Hip-Hop!
Peace!
Hip-Hop!
Peace

“Now change that hand to a peace sign. When I say ‘Peace’ you say ‘Love’”

Peace!
Love!
Peace!
Love!

In that moment it dawns on me. I have just joined the most stoned, accepting, boisterous cult there is. I’m in a New York State of Mind, baby. Me and all other 14,000 disciples.

What follows is the most heart-warming series of events. Nas joins them on stage as they wheel out a Birthday “cake” (it’s a stack of donuts with candles in them) for their Australian Tour managers birthday. And they give a shoutout to “All the mums out there! Whether they raised you, chose you or you chose them – We love y’all!”

 To close, as a tribute to deceased member, Ol’ Dirty Bastard, they freestyle on top of his iconic track, undeniable banger and insane feast for the visual senses; Baby I got Your Money.

The final moments of the concert show all of the performers together down on stage. The background projections are those of a simple New York street. And they all hug. This was the last stop on their Australian Tour, and they are soaking up the love. Many artists didn’t survive the violence of being lower-class and Black in America, but these guys did, and they are clearly so happy to still be here, all together. The crowd is cheering them on as we feel that love ooze into us. I think I nearly cried.

And that, is how I nearly joined a cult, nearly cried to Wu-Tang and Nas, and saw one of the most engrossing, unique concerts and concepts – all on a Sunday night.

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Gig ReviewsReviews
May 16, 2023
Samantha O'Neil

[Review] Kisschasey @ Metro Theatre, Sydney 14/05/2023

Review By Samantha O'Neil

More than 20 years after they formed in Melbourne, two times Gold Certified Australian rock band Kisschasy are back on tour. After a successful appearance at Good Things Festival in 2022, 7 years after their last national tour, Kisschasy announced that all four original band members – lead vocalist Darren Cordeux, bassist Joel Vanderuit, guitarist Sean Thomas and drummer Karl Ammitzboll, would be coming back together to do it all again country wide. 

The band originally announced 9 shows, stopping in at most major cities, as well as Wollongong, Newcastle and Torquay. However due to overwhelmingly high demand, the final tally of shows came in at 15, and now included stops in Perth, Tasmania and Gosford, with most shows completely selling out. 

Friday’s show is the band’s second Sydney show, the first taking place back on the 3rd of May, and was added as a response to how quickly the first round of tickets sold out. The first show was held at Crowbar in Sydney’s Inner West, while Friday’s show was hosted at the laudable Metro Theatre. With its cozy ambience, it is the perfect setting for fans to gather and enjoy one of Australia’s most iconic, but relatively short-lived acts. 

The clock strikes 8pm and punters file into the venue, many racing to find their spot in front of the stage while some stop at the bar and others heading straight for the merch table, whereupon any purchase comes a free CD from Cordeux’s current band, Daz & the Demons. 

Opening the night was Melbourne based singer-songwriter and self-proclaimed ‘Australian mutt’ Bec Stevens, who was followed by Adelaide’s up and comers Towns, who brought their unique blend of flavours, most dominant being 90’s pop punk and Australiana. 

While the openers were a delightful look at talent being produced in Australia right now, by the time their sets were over, the thrill in the air was palpable. Looking around, the crowd was conspicuously older. Having been out of the spotlight for so long, it seems like the people in attendance were all there to take a mosh down memory lane, which felt special. A room full of people bonded by the fact that over 15 years ago they listened to a band that really led the way in bringing this particular brand of pop rock to Australian audiences.  

Finally, the lights go down for the last time and before you can say Perfect Way to Meet, the band is on stage and the show is underway. An impeccable choice of opening track with its first lyrics drawing parallels to the last few hours and what’s about to come. 

Two hours ‘til doors

With my patience running short

I am shaking in my seat

As I grind my fucking teeth

While I would have paid good money to see Kisschasy perform their second album Hymns For The Non Believer backwards, forwards and sideways twice over, the setlist is littered with the best songs from it. The lesser known, but haunting nonetheless, Ugly Birds In A Beautiful Cage appeared around the middle of the set, while the other tracks from HFTNB were top and bottom heavy.  The band played 3 tracks from their third album Seizures, and a handful of tracks from United Paper People, including a fan favourite Face Without A Name which had the crowd unsure whether to dance or mosh. 

Towards the end of the main set, Vanderuit, Thomas and Ammitzboll exited the stage, leaving Cordeux to perform a few songs on his own, first of which was The Shake. To the crowd’s surprise and pleasure, Cordeux is joined on stage by Australian pop royalty Amy Shark to perform Dinosaur, on which her smooth vocals complement Cordeux’s, as if they were always meant to be there. Cordeux ends his solo slot with the beautifully eerie Black Dress. 

The final 3 songs Do-do’s and Woah-oh’s, Spray On Pants and Opinions Won’t Keep You Warm At Night play like a dream. The crowd seems to morph into one entity, a sea of people moving together, completely at the whim of the music. Closing out a night of good old Australian pop rock and musical nostalgia, Opinions Won’t Keep You Warm At Night steals the show by an overwhelming margin, transporting everybody to a time when its timeless lyrics and angsty beat lived rent free in your head. 

Not only has the tour been successful, it put their first album United Paper People back on the Aria Charts, coming in at #8 on the 24th of April, for top 10 Australian Albums. As well as this, they released a special edition vinyl of UPP, which hit #2 on the charts for top 10 vinyl albums. The fans, as the band put it, ‘revived an album released 18 years ago’, so it’s not surprising that part of what made the show feel so special was the frenzy of passion emanating off the crowd. 

Having never had the chance to see the band perform live while they were still together, their 2023 reunion did not disappoint. Their stage presence and energy really filled up the room, providing confirmation that these guys are still seasoned pros. With as much angst as they had 10 years ago, the only way you can really tell that it’s 2023 Kisschasy is from the band’s matured looks. No more are the daggy long sleeves and scarves, instead replaced with stylish tee’s and button downs. Opinions might not keep you warm at night, but Kisschasy sure will. 

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Gig ReviewsReviews
May 16, 2023
Emily White

[Review] Mayday @ Rod Laver Arena, Melbourne 12/05/2023

Review By Emily White

Rock music is a uniquely universal language, and Mayday’s long-awaited return had fans buzzing with anticipation as they packed out Rod Laver Arena this Friday night. The three-hour, fully immersive masterpiece of a performance was unforgettable, and truly leaves all western rock bands with a thing or two to learn.

The concert begun from the moment fans took their seats. High-production music videos of the band played on the mega screens behind the stage, the words ‘Mayday really really want to see you’ plastered across the display. The anticipation grew rapidly for what was to be a mind-bending piece of pure entertainment.

Unbeknownst to the crowd, a surprise opener Ann (Bai An) approached the supersized, runway stage. A quick three song set was all that was needed to appreciate her soft, angelic vocals, mainly backed by silken piano melodies. Beautiful, yet humble in her appearance, it was impossible to divert your gaze from the spectacle at hand. Never have I seen a support act perform with such high-level production – each song paired with exquisite, bright moving backdrops that place the songs in their own universe – one separate from everyday life.

Ann did not hold back. Her vocals are the work of angels, her falsetto so technically faultless. Brief moments of self-harmonisation were a stark highlight, sending shivers down the spines of everyone present. Displayed on the projections behind her were the lyrics of her songs, conveniently written in both Mandarin and English – the deep meaning held within her songwriting being an integral part of her act.

The end of the set had the entire stadium moving as one. Light sticks in hand, and smiles on faces, this perfect moment was a sign of what was to come for the main event.

Not a seat was left vacant as the box office line at the iconic Rod Laver Arena wrapped through the nearby gardens. Mayday (五月天) are one of the most iconic bands in Asia, and after seeing them play live I can now understand why. The band who started out their career in the late 90s continue to remain in their musical prime. Being their fifth time touring Australia, the MAYDAY NOWHERE tour has been a highly anticipated comeback, a ‘best of’ concert boasting the powerful vocals and electrifying performances their fans already know and love.

Smoke filled the air, the arena glowing red as the band raced downstage to the runway. There was no holding back for the music veterans; crashing drums and a bass that could be felt in my chest were just the beginning of the night’s pleasures. Dressed in black from head to toe, there was a mystery, a cool grunge feel to the band – polished with the glamour of a dazzling light show. 

Viva Love kicked off the evening, a fitting track to set the tone for the show ahead. Much of Mayday’s discography centres around themes of love, and longing for its reciprocation. Provocative lines that relate to fans young and old are at the forefront of the band’s success – screaming ‘Let me kiss you until the day breaks’ at the top of their lungs. Despite the more commercial nature of the lyric themes, Mayday’s members Monster, Ashin, Stone, Masa and Ming exude a type of coolness – true rock stars filled with angst and passion. A highlight of the stage production was the live footage projected behind the band – which out of context would appear as a final-cut music video. The 360° stage set up was similarly ingenious, leaving not a single ‘nosebleed’ seat in the house.

Mayday played for hours, with every fan favourite making the cut. The liveliness of the musicians is unlike anything I’d experienced, not letting up for even a second to breathe. Building this manic kind of atmosphere, fans were uncontrollable. Songs like Jump! forcing every person from their seats, throwing their bodies in ways only music can control.

A slower-paced segment of the night gave the band a platform to showcase their unreal vocal range, and heart-wrenching guitar solos. The stadium transformed into a night sky as the light sticks changed to white, the artists stationed independently across the stage. The tracks Contentment and World Crazy gave the crowd a sort of musical whiplash. Paired with a short film referencing the isolation of the COVID-19 pandemic, commenting particularly on the overwhelming doom that children see portrayed through the media. This was a particularly poignant moment; a reminder of the fragility of life, and to worry only about the things that truly matter.

Crowd interaction became a large segment of the concert as the night continued. Making conversation with their supporters, including those seated further from the stage. Front man Ashin (阿信) had the crowd in hysterics as he pointed out fan-made posters and gifts; a charismatic leader who puts a face to the name Mayday.

Moving back into their passionate love songs, Perfume covered themes of longing and devotion, so beautifully poetic with one-liners like ‘Deeply enchanted, deeply intoxicated’. Having the lyrics displayed behind them in both English and Mandarin made the songs accessible for all that were present and gave me as an English-speaker the opportunity to appreciate songs that I wouldn’t have otherwise understood.

A third clear portion of the show was met with the house lights being turned up, electric guitars switched to acoustic, and their all-black costumes turning to brighter-coloured casual clothing. This was to be the most intimate hour; the idea of a fourth wall was completely stripped away. If We Had Never Met dedicated its lyrics to their loyal fanbase – with images of concert crowds displayed on the screens. This was a collaborative effort; the mic being turned towards the crowd who sung every word in perfect unison. Song For You, Mayday’s newest single was met with gorgeous imagery of stained glass and golden lights, and pop hit Gan Bei drew the set to a close – a beautiful, humble goodbye as the band took a final bow.

I would attempt to write about the entirety of the show; however, Mayday was the gift that kept on giving, and giving, and giving. For each time the band took their bows, waved goodbye, and departed the stage, a chant would rise from the audience… ‘Encore!’

Mayday departed and returned to the stage another three times before finally satisfying the crowd enough to make an escape. Having a discography of over twenty years gave the band many songs to lean back on as they were chanted back on stage. Noah’s Ark, A Song with You, Tenderness, and Stubborn played to the accompaniment of confetti cannons; the band members going completely AWOL from their previously planned formations and movement. Huddling one last time to discuss their final song, the band dispersed, Ashin signalling with his hand that this would be the last one. LOVE-ing Being Happy was the perfect finale – and it was truly electrifying to be in the presence of such an avid fanbase who tonight proved their power in numbers.

I can now see why Mayday have been dubbed the ‘King of Concerts’. Still so clearly in their prime, the quintet make anthems for everyone. With lyrics that capture the nuances of life – met with stunning visuals and high energy, you would be a fool to miss Mayday the next time they return Down Under.

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Album ReviewReviews
May 16, 2023
Cassandra Hale

Ghost – Phantomime

Hot off the back of the long-awaited Australian tour announcement, Ghost are throwing us a bone with the latest release EP Phantomime. There is barely a conversation between music lovers of late that does not consist of the word Ghost. Their all-consuming sound and unique take on music is hot property, and we Australians cannot get enough!

The musical genius of Tobias Forge is once again on full display and Phantomime takes us on a journey of classic covers with a diverse collection of songs. Who would have thought that putting Tina Turner and Iron Maiden of the same album would work? Well, Tobias of course, and it works in spades, with refreshing new takes on somewhat unconventional partners.

Opening with Televisions’ See No Evil we are taken back to the seventies with a nostalgic twist on this decades old tune. While losing none of the original feel Ghost have wrangled See No Evil to give it a modern-day spin while still keeping close to its original counterpart. A brilliant way to kick of the album, instantly grabbing your attention, leaving you eager to see what comes next.

The Genesis hit, Jesus He Knows Me is next in line and was released to coincide with Easter Sunday. Which solves the mystery of the “Jesus Is Coming” reference in the Good Friday premiere of the webisode series Chapter 17, Nap Time.  It isn’t the first time we have seen Ghost challenging authority figures via music and this one is an absolute banger.  Their version of the Grammy award winning song is a blinding rendition and let’s just say the accompanying film clip will leave you with a strange awkwardness. Never one to shy from controversial subjects, Jesus He Knows Me is up there with the best and is one of my favourites on the EP.

The Stranglers have been in everyone’s ears for almost fifty years, so it was no surprise they made the cut on this album. The cover of Hanging Around has a fresh aspect that I really enjoyed. Tobias has a way of spinning songs to suit his distinguishable sound but still gives the song its own identity. Hanging Around is this and more and is worth of its spot on Phantomime.

They do not come more synonymous in the metal music scene than Iron Maiden. The Phantom of The Opera is a mammoth song and one that needs to hit the mark if you are going to replicate it.  Fortunately, the Ghost version knocks it out of the park with a punchy sound that resonates instantly in your mind with a song of such gargantuan proportions. It is magical to listen as Ghost intertwine with Iron Maiden in an almost cathartic experience, while this song is a long one you will not be disappointed, and it will have you swept up for the duration.

We Don’t Need Another Hero was made famous after featuring in our very own cult classic movie Mad Max Beyond – Thunderdome. While Tina Turner did an outstanding job with the original, Ghost certainly set the bar high with their own version. It is packed with feeling and sentimentality and is a fitting end to this exquisite EP.

The thought involved in putting together a group of cover versions that will resonate with the listener is a tough ask but as with this eclectic mix, it just works. Once again, this falls to the insightfulness and innovation of Tobias Forge and his extremely gifted ghouls that cement the sound and round out the perfection that is Phantomime.

‘Phatomime’ will be released on physical and across streaming services from May 18.

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May 16, 2023
Josh Mak

Avenged Sevenfold – Life Is But A Dream

It has been 6 long years since Avenged Sevenfold released The Stage. Over the last 4 years they have given away precious little, saying only that they were working on their 8th studio album. As the release date approached, I found myself wondering: what direction would a band that has achieved it all, choose to take? Would they return to their roots to satisfy their fans’ sense of nostalgia or modernise their sound to appeal to a more contemporary audience? Well, I am pleasantly surprised to tell you my friends, that the answer to that is neither of those. So with a drumroll and a parting of the curtains, I invite you to take a journey with me into the highly anticipated opus from Avenged Sevenfold, Life is But a Dream.

Game Over opens the album with a beautiful classical guitar arrangement reminiscent of a Stephen Sondheim musical. Just as you settle in and lower your guard, the song thrusts you into a blistering Thrash metal segment that wouldn’t sound out of place on a Slayer record. Now I know how jarring the juxtaposition of musicals and metal might sound but trust me this actually works. Like the mad scientist who first combined ingredients to invent maple bacon ice-cream, this is one of those rare moments where two worlds collide and make something new and magical.

The next track is Mattel and the musical/crushing-metal theme continues. It blooms into a multi layered tapestry of impossibly tight and precise rhythms, creating a backdrop for vocals that traverse seamlessly between lush bathroom reverbs and filthy grinds.

Nobody was the first single released off this new album and the first time I heard it I was intrigued. Now, after multiple listens I can assure you that I have been converted. I have to take a second to pay my respects to Brooks Wackerman and Synyster Gates for the ridiculous level of musicianship that they have displayed on this track. Machine like precision yet still overflowing
with human emotion. In an age where there is much chatter about AI replacing us, I am put at ease by these musicians, that humans still have the edge in an unquantifiable, intangible way.

The second single released was We Love You. To my ears it continues the themes and variations that have already been established but fuses in little elements of Euro Trance into the mix. At 7:31 in length, Cosmic is a strong contender for my favourite track of the album. A painfully beautiful and grandiose epic, it has so much depth and is so considered in its arrangements as it invokes David Bowie influences.

Easier opens with a modulated vocal chorus line that reminds me of Imogen Heap. The creativity and experimentation continue as the song progresses and Johnny Christ showcases some really great bass lines on this track, perfectly complimenting the Hendrix-esque guitar lines. G takes us into Prog Rock territory with phrasing and grooves that one would usually expect to hear from a band like Liquid Tension Experiment. Despite me using many different bands and
artists to describe this album, it still retains a strong identity and originality of its own and maintains a coherence throughout.

(O)rdinary opens with a synth arpeggio pattern that is accompanied by funky clean guitars and modulated vocals. I get a strong Daft Punk influence from this track, specifically the Random Access Memories album.

(D)eath enters with more orchestral arrangements taking me back to the golden age of Hollywood. Imagine a crooning Frank Sinatra number that drifts off into a dark and ominous direction.

Eagle-eyed viewers might have noticed that the first letter of the last 3 songs in the track listing come together to spell, GOD. An interesting Easter egg that might give us more clues into the concepts of this album. I’m always impressed when artists go the extra distance to pay attention to such little details.

The grand finale concludes with the instrumental, Life is But a Dream – an extended piano movement that is elegant and alluring while maintaining a sense of morose as it builds to a frenetic climax. Production on the album is excellent and kudos has to given to Joe Barresi and Andy Wallace for bringing this mammoth vision to life by capturing vast and varied nuances found across the record.

Lyrically, the album is inspired by the writings of French philosopher, Albert Camus. A moralist whose views contributed to the rise of the philosophy known as absurdism. Such a choice in subject matter shows the band maturing in not just their craft but also in how they think. Perhaps they are giving us a tiny peek into the inner sanctum of their minds or maybe even urging us to delve into ours?

Commercialism is the antithesis to art and Avenged Sevenfold have thrown caution to the wind as they dive deep into this exploratory endeavour to bring us a genuinely original creation. Doing what is brave and what is easy are seldom the same thing, and I for one am grateful for the courage and vision the band has displayed in the writing of this latest album. It may not please everyone but it has most certainly left me enamoured and more importantly, it has made a powerful statement and set an example that I hope will inspire more bands to keep the hunger and the drive to continuously push the boundaries of music and art. l'art pour l'art

Life Is But A Dream… is set for release on June 2nd via Warner Records. Pre-orders are available now and can be purchased here.

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May 16, 2023
Midnite Mitch

DevilDriver – Dealing With Demons Vol. II

DevilDriver fans know exactly what they want from an album, headbanging riffs with killer grooves that you can’t help but move to from first to last, and that’s exactly what Dez Fafara and the heavy groove lords of DevilDriver deliver with Dealing with Demons Vol. II. This marks the band’s 10th album in about 20 years, and for those of you who got into Volume I, be prepared for a harder hitting set this time around.

Straight out of the gates this album gives you that DevilDriver hit, I Have No Pity comes in hard with the groove orientated riffage over syncopated kicks, they know that’s one of their strong points, it’s one of the main reasons I love this band, it just drives the nail into the coffin and makes for a heavier track. The only thing I’ve ever had to say negatively about some of DevilDrivers tracks is that they can be so compressed in sound, that some of the riffs just have no room to breathe. I know that’s their sound and I still enjoy what they do but a couple of the tracks on here just reminded me of the way the modern metal sound is recorded and produced and I guess what I’m personally into.

Steve Evetts, who produced Dealing with Demons Vol I. and the Outlaws Til the End Vol. 1 albums is once again at the helm of this one, I mean, why would you change the goalie if he’s on fire right? The album production is very much the same as those albums but as I said at the start, these songs are written heavier than the previous album, but the mood is captured perfectly with songs like Bloodbath and Mantra. There is an element of southern style to a few of the riffs and melodies and I swear slide guitar, whether that’s been a thing since the Outlaws album, I’m not 100% sure but its wicked! The dual guitar work by Mike and Alex is incredible as always with their rhythm and lead work. Through the Depths, the first single off this album was a great choice, that chorus is catchy as hell and they released a film clip for it, Dez looks mad with white hair. My favourite off the album was a track called Bloodbath though. The riffs are dark and memorable, I couldn’t help but have this song on repeat. One of the other singles released was If Blood Is Life, and this track has that killer bouncy verse riff and big open sing along chorus that will definitely make the live setlist.

I feel with Dealing With Demons Vol. II, you aren’t necessarily getting something new per se, its more of what that do well, which is just going to add to their live element really. If you are a fan of Dez and the gents, then you know why you’re here and what you expect from a DevilDriver album. There are a few tracks that may convert some fresh minds to the cause but if you are expecting them to break their mold, then sorry. These tracks will convert to the live stage incredibly well and I’m excited to see which ones they choose to bring out, I honestly hope that Bloodbath makes the cut!

Dealing With Demons Vol. II was released on May 12 via Napalm Records, though you can order your copy today.

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