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Megan Milner

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Gig ReviewsReviews
March 10, 2023
Megan Milner

[Review] Sacred Reich / Vio-Lence @ Manning Bar, Sydney 08/03/2023

I stand tonight in the heart of many happy metalheads. After multiple cancellations, delays, and pandemics; we blew the dust that had settled upon our tickets from 2019 for the Aussie Thrash Fest has arrived. Sydney is the second stop on the tour, which began in our nation’s capital. Before the grand finale in Melbourne, Brisbane and Adelaide will also be decimated!

A double header of these thrash titans is sure to be a wild ride.  

Founded in 1985, at the height of the Bay Area thrash movement, Vio-lence came up alongside fellow Bay bashers as Testament, Exodus, Death Angel, Heathen, Forbidden, Laaz Rockit, Dark Angel, and of course Metallica. Tonight, we celebrate their very first visit down under. Aussie fans may have thought they’d never see Vio-Lence on our shores as they’ve had many stints together, only recently reforming in 2019 after their 2003 split. 

Sadly, guitarist and founding member Phil Demmel (ex-Machine Head) isn’t with them on this tour. One man down doesn’t stop remaining members storming the stage and throwing down Bay Area style! Red lighting creates a menacing atmosphere as they ferociously fire through many well known songs including Serial Killer, Calling In the Coroner and Kill on Command. Vocalist Sean Killian is a true professional, commanding the stage ensuring every punter who makes eye contact with him, he’s returning. A nice surprise was seeing Christian Olde Wolbers (ex Fear Factory) on bass duties. He’s been with Vio-lence since 2020 and is having a great time up on stage. He’s always had a wonderful stage presence and gives his everything, a great addition to an already solid line up. Vio-Lence have ignited the crowd with their merciless set, most songs coming from 1988’s Eternal Nightmare. As this is their first time to Australia, Vio-Lence fans have been waiting a long time to hear these tracks. There are smiles a plenty as their time is wrapped up with Phobophobia, Upon Their Cross and World in a World. 

As the sounds of Sacred Reich ride through the outdoor smoking area, fans are dropping everything to run inside. By the time I’ve rushed in with the masses, The American Way has kicked off with many fists in the air, singing along. Vocalist Phil Rind takes a moment to say hello to the crowd. When asked if anyone was born after 1994, a fair few hand rose. Rind chuckles and informs us all that 1994 was the last time Sacred Reich were on our shores with Sepultura. 

Most of the songs tonight come from their latest album, 2019’s Awakening. Including Divide & Conquer, Manifest Reality and Salvation. World renowned skinsman Dave McClain (ex Machine Head) is holding down the beat with precision and concentration. I’ve been seeing Dave play since I was a young teenager and I’ve always admired his style, tonight his bass drum emanate through each one of us bringing a whole new meaning to feeling the music! One confused crowd member may not know where he is as he screams for ‘Holy Wars!’ (of course, by Megadeth, not Sacred Reich.) Phil handles this well by giving his two cents on which albums he likes, because the one thing we all have in common tonight, is thrash metal!  

I can’t help but watch new blood Joey Radziwill, on rhythm guitar. He is pouring all his energy and enthusiasm into his axe tonight, headbanging at every moment, not missing a note. Free and Who’s to Blame garner great responses from the crowd. Sacred Reich have always been a little different to the rest, preferring to cover social and political issues than the more demonic elements of their peers but despite the intense subject matter and the furious riffing of the likes of Death Squad, frontman Phil Rind’s beaming smile, friendly on-stage demeanour and positive inter-song banter was at odds with those weighty topics. 

The night appeared to fly by after such a lengthy wait, which was testament to the band’s powerful, hugely entertaining performance. Long-time axeman Wiley Arnett kicks off Surf Nicaragua to close tonight’s set, igniting a small riot on the floor of the Manning Bar. 

As the punters saunter away from the stage, hungry for 1 more song, smiles are still wide on everyone’s faces. The merch table is many people deep while security attempt to clear the venue. To experience a bands first trip to Australia, and one almost 30 years in the making was truly special. Hardline Media proving once more they are a promotor for the people. 

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Gig ReviewsReviews
February 12, 2023
Megan Milner

[Review] HED PE @ Crowbar, Sydney 10/02/2023

One of the forefathers of nu-metal, HED PE have been steamrolling across Australia once more. The tour hosted by Silverback Touring began in Perth, stopping at Adelaide, Brisbane, tonight in Sydney, and Melbourne as the final destination tomorrow night. 

HED PE have been consistently good to Australian fans, visiting most years with new material and great friends such as Nonpoint on their last run in 2019. Since their last visit, they’ve released 3 albums, 2 EP’s and released a cover of the Ramones classic I Wanna Be Sedated just last week.  

The Bloods kick off tonights proceedings to a decent sized crowd for the first of 2 local supports. The post hardcore outfit from Newcastle leave nothing in the tanks performing with passion as though they are the headliners. The crowd nod along, unable to resist the heavy beats and energy at their biggest show to date. If they don’t have a local following already, it was lifted tonight. The Bloods did a great job starting tonights show.  

Leading up to the show Silverback and HED PE’s social pages were calling for more supports in Sydney. The second support act making up tonight’s bill is The Weight of Silence.
A trap metal / rap core outfit from San Remo, Philip Island storm the stage wasting no time to begin the show. Their energy is incredible, front man J Figure covered face to toe in tattoos switches between screaming and rapping, never standing still for more than a second.

After blasting through multiple songs, J Figure says his band, guitarist Benny and drummer Lil Gerbz are doing all the hard work, so he is giving them a break to perform a solo rap song. The more he performs, another layer of clothing comes off until he’s shirtless although with how many tattoos he has, he still appears clothed. The band return to surprise us all with a cover of Break Stuff by Limp Bizkit. The crowd has been opening the pit consistently through their set, but this cover really sets it off!  

The Weight of Silence are incredibly appreciative of not only the promotor and venue, but Hed PE and their influence. I had an absolute blast during their set, they were a perfect choice for tonights show and they’ve presented a rabid crowd for the Southern Cali greats up next. 

The are no egos, smoke covered entrance or gimmicks when Hed PE enter the stage albeit full of smiles waving to the crowd to the sounds of Low Rider over the speakers. A few technical difficulties delay the beginning of the show, giving the packed crowd time to wedge in like sardines. R.T.R opens the show, taken from their 2021 EP and the first chance Aussie crowds get to hear the track. The crowd groove and dance along to frontman Jared Gomes wailing on the melodica during vocal breaks creating a jam like atmosphere. 

After a quick smile and hello, Hed PE waste no time launching into Killing Time from 2000’s Broke. The crowd open, the pit widens and doesn’t close for the remainder of the night. I get the impression tonight is a somewhat greatest hits setlist with the exception of a small few. Iconic Hed PE tracks such as Waiting to Die, Swan Dive and Crazy Legs receive an enormous response. Next year will be the 30th anniversary of their formation and they’re as tight as ever. Drummer Trauma towers over the kit, his emotive face amplifying every crash. It’s no wonder he breaks a stick early on! 

The smiles, dances and pits keep coming as Hed PE relentlessly throw hits our way. Raise Hell and Blackout garner roars from the crowd, while the slippery diehards in the pit push back the edges to unleash at Jared’s bellow! The heat that is rising from the crowd is blamed for the amps going out, to which we all cheer. The issues only last a few seconds before we’re back grooving to Let Me Know from their Sandmine EP. 

Gomes takes centre stage thankful, grinning ear to ear to ask the crowd to sing along to the next one if we know it. The melodica makes a return counting in an instrumental rendition of The Meadow (Special Like You), yet another track from the brilliant Broke which makes up the most of any album tracks, 6 in total. The Meadow is a slower track with a different lyrical approach, Gomes sings much more cleanly in this track which is the crowd’s turn tonight. Punters are arm in arm with one another, serenading each other and having the time of their life. When the band asks the crowd to sing along we usually get a verse, or a chorus but Gomes wants the whole song performaed and we are more than prepared. High fives and cheers are exchanged at the conclusion of the punk rock/nu metal sing along. 

If The Meadow sing along weren’t the highlight of the night, we’re treated to arguably their biggest track, Bartender. As a heavy metal DJ, I listened to this song every single Saturday night since I was 18 and hearing the live version will never get old and transport me back to a wonderful time on the dark dancefloors of Sydney night clubs. This fabulous track is bittersweet, as we are all aware the night is winding down.  

As mentioned earlier, Hed PE released a cover of the Ramones classic I Wanna Be Sedated a week ago to the day and we are given one of the first live performances. They do a great job, although the crowd are hungry for more Hed tracks. Jared grins and asks if we want one more, of course we do! The opening riff of Renegade fills the room for our final dance together. Renegade is the perfect combination of sing along chorus to heavy verses to mosh to. Our final moment arrives as the guitar chugs along, beckoning the pit to open wide as Jared builds the anticipation with the words, ‘Push me, so I’ll push you right back’.  

With one final bow, the show concludes the crowd thirsty for more but thankful for a breath of air. The Crowbar band room resembles a sauna by the end of the show. Trauma stays behind to shake hands and throw out drum sticks, with his trademark smile in tow. 

Hed PE played a near perfect set list tonight, full of crowd favourites, you’d be hard pressed to find a single punter disappointed in that set. My only grievance was that the show ended at all! I had a smile on my face from start to finish, forever in awe of this fantastic band. Jared did let the crowd in on a secret that they would return in 2024, make sure you are there! 

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Gig ReviewsReviews
January 18, 2023
Megan Milner

[Review] Thy Art Is Murder @ Roundhouse, Sydney 13/01/2023

We are not spoiled with a four-band line-up of top-tier talent every day. Tonight’s show is just that. Extreme metal, western Sydney titans Thy Art Is Murder are accompanied by three international heavyweights, Spite, Chelsea Grin and Whitechapel. Strap yourself in, we’re in for a night of heavy riffs and even heavier vocals! 

Californian hardcore/deathcore/downtempo maniacs Spite are kicking off the festivities, and the band I am most looking forward to seeing. As they take the stage, the sun is still in the sky leaving the Roundhouse more illuminated than usual. Frontman Darius Tehrani commands the stage with energy too large for the small space, as being the first band on the bill their drumkit is in front of another. Half of Spite’s 8-song set is taken from their latest release Dedication to Flesh, a heavy-hitting no holds barred album that delivers from opening to closing track. Lord of The Upside Down, Caved In and IED give the crowd minimal recovery time, only a chance to warm themselves up for a huge night of moshing.  

I’m happy to see just how many punters came down early to catch them! Rounding out Spite’s set is Kill or Be Killed and Crumble, two monstrous songs that showcase their sound perfectly. I’m a big fan of deathcore, but there’s something about Spite’s dash of metal in the mix that really makes them stand out. Their set is far too short, although as this is only their first time in Australia, I’m hoping it’s the start of a beautiful relationship that results in many frequent visits. 

Just as I’ve had time to purchase a Spite shirt from the merch booth, the lights dim for Utah’s Chelsea Grin. The last time we saw them was with Born of Osiris in 2019, and in such time they’ve released two new albums, Suffer In Hell and Suffer In Heaven and I’m looking forward to seeing them again. Opening with Recreant, we get a sense that they did not come to mess around. Desolation of Eden, the album Recreant is taken from, had a very different line up, one of the most notable is frontman Tom Barber (ex-Lorna Shore) who’s been with the group since 2018 and is one of the most talented vocalists in the scene. His ability to jump from screams and lows is seamless and astonishing, all with a smile on his face. New track The Isnis gains a great crowd response as horns are cast in the air and pits are widened. Stand outs of Chelsea Grin’s set for me personally are taken from 2018’s Eternal Nightmare, Dead Rose and Hostage.   

As for Spite, Chelsea’s Grin only really tickled their catalogue of music. I sure hope next time Chelsea visit, they have a longer set to really get into how great this band is as their popularity is soaring. 

I’m already beyond happy with tonight’s performance, as Tennessee’s Whitechapel arrive. I’ve been a fan of theirs since 2007’s Somatic Defilement and they will always hold a very special place for me, the excitement has gone up a notch! In the last few years, their sound has expanded from the heavy deathcore flavour we know and love. Clean vocals have seeped through the mean demeanour, as showcased in their opening track When a Demon Defiles a Witch. Phil Bozeman has a very distinctive voice and evokes monstrous growls from such a small frame with ease.  

Bassist Gabe Crisp provides the low end on the strings with force while all three amazing guitarists Ben Savage, Alex Wade, and Zach Householder give their own personal touch to the songs that make Whitechapel one of the biggest heavy bands around. They steamroll through a selection of hits such as Brimstone, Doom Woods and Black Bear which gets the floor bouncing and is impossible to keep out of.  

This is Exile makes us long-time fans happy, even my brother with short hair can’t help but attempt to headbang to this Whitechapel classic! A Bloodsoaked Symphony and The Saw Is The Law round out their blistering set, 8 years in the making.  

The exhausted punters head to the bar and outside area for one last breath before the headliners arrive to take what’s left from this crowd’s energy tanks. 

We Like To Party by The Vengaboys fills the venue, making the metal crowd laugh and dance unaware Thy Art Is Murder lurk just behind the stage. Opening with Reign of Darkness the crowd pushes out a monstrous circle pit to the dark red lights only just illuminating the band members. The crowd scream ‘You will see the true face of panic’. 

Vocalist CJ McMahon’s skeletal mic stand towers over him and the front centre of the stage, forcing him to sing upwards similar to Lemmy. Tonight’s performance is a truly special one, the 10th anniversary of their second full-length album Hate being played in its entirety. The mad crowd barely have time to hi 5 their mate before we’re cast into The Purest Strain of Hate. Drummer Jesse Beahler is a madman behind the kit and keeps tempo with precise concentration. I spot him looking into the crowd and smiling at the response his band is getting from the wild Sydney crowd.  

Songs such as Immolation, Dead Sun and Defective Breed annihilate the Roundhouse still cast under dark lighting and smoke, adding to the drama of the undeniably heavy music. CJ is belting out some exceptionally heavy vocals, but that doesn’t stop him from having a bright smile across his face for most of the night. The band are truly appreciative of the reception and the love is sent back in droves. Doomed From Birth rounds out the Hate album and the band takes a short break backstage, while the crowd calls out for more!
Thy Art return to the stage for 3 encore tracks, which must have been hard to choose from their catalogue. Death Squad Anthem, Holy War and Puppet Master wrap up tonight’s gruesome events. TAIM consistently delivers goods in a way that inspires unending mayhem and fan love with horns raised as they scream out the lyrics until the last note. 

I feel very proud to see an Australian band reach the success that Thy Art is Murder has garnered, especially headlining a tour in their own country with three international supports.
The entire east coast run of this tour has sold out with very limited tickets left for Adelaide and Perth. Do not sleep on this tour. 

With 4 spectacular deathcore acts, there really is something for everyone and even if you head down for one band, I’m sure you’ll fall in love with another. 

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Gig ReviewsReviews
December 8, 2022
Megan Milner

[Review] Soulfly @ Manning Bar, Sydney 6/12/2022

The 6th of December marks the end of sideshows for this year’s Good Things Festival, and I’m spending it at the Manning Bar in Sydney seeing the mighty Soufly. They must be looking forwards to one last throwdown to cap off the Australian performances after appearing at 3 festivals in 3 days across 3 different states. 

The initial support, Melbourne’s Primitive pull-out of the show last-minute moving Sydney’s deathcore superstars To The Grave to the main and only support. To The Grave have been busy! Not only did they also appear at Good Things Festival (in Melbourne and Brisbane only), they supported Soulfly on their Melbourne sideshow and we’re lucky to have them here tonight.  

They open with Red Dot Sight as lead singer Dane Evans storms the stage in a balaclava under his hoodie. They may be a different brand of metal in comparison to tonight’s headliner, but the crowd bounce and headbang along as the Sydney squad play their hearts out. If you haven’t seen To The Grave perform before, I highly recommend it. Evans has a stage presence beyond his years and a voice that can compete with the likes of Phil Bozeman and Brooke Reeves. I can’t wait to see his evolution; I feel he will only get better!
Simon’s drum kit is positioned in front of Soulfly’s, leaving little room for movement up there, he nonetheless near destroys each drum with strength and accuracy. Just that morning, the film clip to Axe of Kindness was released, and we get to hear the heavy, gritty assault live!
The single is out now and will be on their new album Directors Cuts coming February 24th. 
Closing the set with Wastage, they call for a wall of death. Metalheads pour down to the floor from the outskirts as Evans counts down to carnage.  

The venue’s capacity fills very quickly as the time draws near for metal legends Soulfly to take the stage. I make a very silly decision to buy merch as I hear the intro to Back To the Primitive stream out of the speakers behind me. I tap my card, grab my shirt and sprint to the front. The venue claps along as the band appears one by one.
It may be a Tuesday but that does not stop the pit from going ballistic! The album Primitive, in which Back to the Primitive is from, was released in 2000 and looking around, everyone sure knows the words. Max and co take no prisoners ripping through tracks such as Prophecy, Downstroy and Filth Upon Filth from their latest album Totem. 

As most know, Dino Cazares, guitarist from Fear Factory is along for the ride. The two guitar legends share a moment on stage, axes facing each other – shredding like it’s child’s play, the crowd lap it up. Ritual is one of the strongest songs of the night, a loud chanting chorus that everyone can join in and a chugging slower outro to bang our heads.
Soulfly was born in 1998, but they were made when they arrived in Australia in 1999, according to metal god himself Max Cavalera. Tonight, the admiration is mutual!
Multiple sound problems at Good Things made me glad I went to tonight’s event because the sound is excellent! One punter rips his top off and twirls it around his head, giving Bleed one of the finest receptions of the night. 

Max asks us if we want some Chaos AD, to roars of excitement! Max’s son Zyon (who it’s playing drums for Soulfly) counts down to the Sepultura classic, Refuse Resist and the venue lose their minds. Brazilian football chants work very well in a metal setting, with a few lyrical alteration we are singing “ole ole ole ole Soulflyyyy Soulfyyyy’.
As an enormous Fear Factory fan, I am beyond excited to hear the intro to Body Hammer, it’s cut short to make way for the huge single, Replica. The intro to Demanufacture also teased as Soulfly gets back to business.  

Tonight’s fantastic show is rounded up with Eye For An Eye and the ever-amazing Jumpdafuckup. As metalheads we are used to artists asking us to sit down, only to jump to the sky as the beat kicks in. I could not wipe the smile off my face watching the entire venue takes part, not just the moshpit! The energy is electric as we yell the chorus knowing the show is coming to an end.  

Soulfly was a highlight of the Good Things line up and I was so fortunate to see them perform twice. With his contagious grooves, persistent worldwide touring, and love for metal, Max Cavalera has established himself as a true symbol of our scene. The current Soulfly line up, Dino Cazares, Mike Leon and Zyon Cavalera is outrageously talented, I hope it stays this way for some time.
The world is opening back up, and the shows keep on coming. I can’t wait to see what 2023 has instore for music lovers across Australia.  

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Gig ReviewsReviews
December 2, 2022
Megan Milner

Electric Callboy @ Factory Theatre, Sydney 1/12/2022

German electronicore party monsters Electric Callboy have arrived on our shores, ahead of appearances at 2022’s Good Things Festival. Before the festival cylinders fire up, Electric Callboy are warming up with 2 sold-out headline shows; at Melbourne’s Max Watts, and Sydney’s Factory Theatre. Along for the party are Clay J Gladstone and Paledusk from Japan, the latter also appearing at the Good Things Festival. 

Tonight’s venue may be half the size of the night priors Melbourne show, but the excitement and smiles sure are doubled! The Factory Theatre has had a facelift since I last attended a show here and it has a fantastic atmosphere with multiple rooms, hosting metal shows and comedy nights simultaneously. Scattered mullets, activewear and outfits are in full swing in hopes tonight’s headliner reciprocates the wardrobes. 

Clay J Gladstone begin the madness with a high-energy set. The Blue Mountains Emo Punk boys, fill the stage in kilts, overalls – sans shirts of course! They get the crowd dancing and singing early on, which isn’t the easiest feat for a local band supporting international acts. I sure hope to see Clay J Gladstone on more line ups, with a longer set. Their personalities pour out of their songs and dance moves, they’re a lot of fun! 

Japan’s Paledusk are up next, the first of 2 international headliners tonight. A Japanese, and a German band on the same night? I love festival season!

It feels as though they only just departed Aussie shores, as they appeared on the Metalcore Snitches tour alongside Alpha Wolf, Fit for a King and Great American Ghost in June. Paledusk’s music is unique and tight. The combination of metalcore, industrial, nu-metal, and EDM is exciting and impossible to look away from. We are even treated to an Eminem cover of Lose Yourself, Paledusk style. The guitarist never stands still, complete with spin kicks and windmills. Vocalist Katio jumps in the crowd for a sing along with their new friends, before closing out the set with Lights.
The pit is well and truly warmed up!

After their appearance at Good Things, they are darting across the east coast for a run of shows with Starve. Head to Destroy All Lines for more details on this tour.

Right at 9:10pm, the lights descend, and pink party ambience covers the stage. Intense dance music and intro, “In a world of desolation and sadness, six ultra-attractive men arose to bring back the joy. So, prepare yourself for the time of your lives. This is Electric Callboy. Are you ready?” Electric Callboy bound onto the stage straight into one of their biggest hits, Pump It. Each member kitted out in matching tracksuits, mullets and sweatbands the crowd erupts. Their mix of party tunes and heavy beats is the perfect combination. Before the crowd can catch their breath, we’re hurled into Arrow of Love as band members and crowd members alike make love hearts with their hands. This really is one of the happiest, most positive shows I’ve been to in a long time.  

The lights darken and members exit the stage, returning in normal stage clothes asking if we know how to ‘Jump the Fuck up’, why yes Electric Callboy, we sure do! The Scene begins with a marching beat and chant before the crowd jumps the fuck up to the ridiculously intoxicating beat. One of two lead singers, Nico points out that the huge headphones he is wearing aren’t just for fashion. He’s been battling an ear infection and can’t wear in ears, so big over-ear headphones are the next best option. While feeling a little vulnerable, the second vocalist Kevin says he looks cute and asks the crowd to join in to make him feel better. Kevin and Nico share a kiss during Supernova, the love is flowing through the venue tonight! 

MC Thunder 2 (Dancing Like a Ninja) shows the full extent of the vocal talent Kevin possesses. He conjures gutturals from the belly of hell, as crowd-goers look to their friends with pure delight in the form of a stank face. While the two singers cover most areas of the stage, the band members are giving just as much. Their music is tight, and they don’t miss a beat. The sound guy needs a raise because tonight is flawless. 

September saw the release of their latest album Tekkno, which holds many gems. One of those gems is Tekkno Train, which begins with a fun dance beat beginning the united clap. Interrupted by a heavy breakdown before a big singalong chorus, it’s impossible to stand still! Drummer, David-Karl Friedrich is beating the drums so hard, I can feel it in my chest. Do you want to know what happiness looks like? Its friends dancing around singing the words ‘choo, choo choo, choo choo choo we’re riding on the Tekkno train’

The band exit the stage once more before the intro of favourite Hypa Hypa seeps through the speakers. We all thought we had to wait until the end of the set to hear this one! Hands are in the air clapping to accompany the vocalists, who have returned in yet another costume change. Its contagious ‘do do do do’ sing along ignites the crowd as the circle pit opens to madness.

The banter on stage is just as entertaining as the performance, the German accent only makes it more wonderful. Kevin speaks of a tradition of dancing with friends to a type of music in Germany called Schlager. It’s overused, dance-pop-infused music that is scoffed at. Luckily, they wrote their own Schlager song which transitions quite abruptly into deathcore. Hurrikan is a major hit of the night, coming in at only 1 minute and 39 seconds the crowd is left in awe at what they’ve just witnessed. 

One fake encore later, we’re treated to the latest single Mindreader, the film clip, not even a fortnight old. An incredible aspect of the evening is not only that it is Electric Callboys very first Australian tour and they’ve sold out 2 shows, but the crowd knows songs so well, even when performed entirely in German! The members are incredibly moved and thankful for the support, interacting with the crowd at every opportunity. Spaceman may receive one of the most enthusiastic receptions.

Another fake encore reveals the German madmen decked out in bowl cuts and matching white vests. This can only mean one thing, it’s time for We Got The Moves. I’m not sure if it’s predominately laughter or cheers, perhaps both but the crowd is pumped! The song kicks off with the signature head bop, as the band and crowd leave nothing in the reserve tanks. 

Tonight, was a fantastic showcase of top tier musicians. We were captivated by our international guests and what a treat it was. Electric Callboy is such a strong band and if you look beyond the funny lyrics and ridiculous film clips for a moment, you will find talent in truckloads. They have unquestionably swept the globe, and I am ready for the takeover! Their recorded music is only going from strength to strength with imaginative film clips and now Australian audiences know how great they are live.  

If you are heading to the Good Things Festival this weekend, do yourself a favour and get in the gates early to catch their set. 

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Gig ReviewsReviews
August 23, 2022
Megan Milner

[Review] MONOLITH FESTIVAL @ Bella Vista Farm, NSW 20/08/2022

The inaugural Monolith Festival kicked off in Brisbane last weekend to a fantastic crowd. The all Aussie lineup is helping us warm up to festivals and live shows becoming a more regular occurrence, once again.
7 bands, 1 stage, NO clashes! 

The morning’s weather is less than ideal, a grumpy sky and some rain make any punter nervous about the day ahead in an open field in Sydney’s west. As the clock edges closer to the gates opening, the skies open to a beautiful blue, just for us.
Today’s venue, Bella Vista Farm is a large open green ground, with sheep grazing behind a fence, and natures amphitheatre at the foot of a hill, this is where the stage can be found. With only 1 bar, 1 merch tent and a few food trucks it is not regular festival programming today. 

I walk the perimeter on my arrival, making sure I absorb every aspect of the festival set up by the legends over at Destroy All Lines, I get a drink and prop myself on the hill to watch Perth based, experimental prog rock group Yomi Ship, kick off the day.
Yomi Ship are the first of 3 instrumental acts on the Monolith line up. Yomi Ship demonstrates to audience members that although vocals give a band more depth, they are not always required. As we observe and take in Yomi Ship’s ripping riffage and melodies as they perform songs like Seamonkey, Ice Drake, and S.H.A.M.A.N. as we appreciate the level of musicianship. 

The day is under way and with less than 30-minute change over intervals, we are treated to another healthy dose of live music with Reliqa. Their energy was infectious and thank goodness as the dampness of the ground had made everyone quite uncomfortable, we are on our feet! Sydney-based rockers came out with guns blazing. Front woman, Monique Pym’s energy does not come down once. There are many headbangers in the crowd, including one blue Power Ranger! With Mr Magic and The Halfway Point, Reliqa encourages punters to hustle closer to the barrier. Every song after this, including Safety, which was only released last week, is said to be a brand-new tune. 

The enigmatic and hefty introduction to Tundra introduced Sydney’s Sleepmakeswaves, an instrumental rock band with members Otto Wicks-Green on guitar, Lachlan Marks on guitar, Tim Adderley on drums, and Alex Wilson on bass, keys, and electronics. Sleepmakeswaves‘ heavy and layered sounds were pushed out into the crowd in melodic and energising waves, bringing skilful professional riffage! They played a well-balanced show, with tremendous energy and seamless transitions between songs. The air was painted with melodic and intricate works of art by the songs The Stars are Stigmata, Traced in Constellations, Great Northern, and Something Like Avalanches. Sleepmakeswaves left its impression on audiences with long-time fans happy and plenty of new fans excited to hear their most recent song, Pyramids, a gorgeous heavy piece. As they approach the microphones, used only to speak with the crowd, they are humble and appreciative of all in attendance. 

Plini is up next, rounding out the instrumental acts of the day. I have known about their music for some time now and their reputation for being astounding musicians. We audience members are being intoxicated by Plini songs like I’ll Tell You Someday, Every Piece Matters, and I cannot forget the fan favourite Electric Sunrise as their immaculate arrangements pulse and soar off the stage. They bring a different energy to the other 2 instrumental bands, and really stand out. 

The sun begins to descend behind the hill as the Ocean Grove backdrop is raised. Being the band, I most looked forward today, I leave the height of the hill and enter the pit for the madness about to ensue. From the moment they burst on stage with Superstar the energy of the day is lifted, and atmosphere altered as the crowd bellows in excitement.
OG stand out on this line up, as their flavour of nu-metal/rock/punk/oddworld is quite different from the other acts. Although I commend the organisers for throwing this incredible wildcard.
Front man Dale Tanner’s energy is endless, as soon as I see him wearing dark blue coveralls, I know we are in a world of trouble and there is a big performance coming. (Fever 333 fans will understand!) A packed set of hits including Junkie$ and Sex Dope Gold are thrown our way, opening the moshpit instantly. Bass player Twiggy Hunter was recently released from hospital although it did not hinder his performance, with a beaming smile from start to finish he lends backing vocals to many songs while holding down the bass with a style like no other. We are so glad he is on the mend!
Drummer Sam Bassal treats us to a fantastic solo on the song, Guys from the Gord, as we are swept into Thousand Golden People. It is an interesting song with a hard-hitting intro, some borderline rapping from Dale progressing into a huge chorus for the crowd to join in on.

Before they hit the stage someone asked me what genre Ocean Grove are, I simply replied ‘yes’.

The only criticism I would have of their performance would be the lighting. It is back lit so extreme that I can only see Dale’s face when he is close to the drum riser, otherwise he is but a shadow on the stage. For a performer who is constantly moving and bonding with the crowd, it was a shame to not see more facial expressions and connect with the enigmatic front man especially being on the barrier.
Ocean Grove performed a tremendous show that will be hard to top, bringing psychedelic vibes with Ask for the Anthem and their collaboration track with Brisbane rockers Dune Rats, Bored. Concluding with their legendary song Sunny, which I am singing at the top of my lungs. Go ahead and put that song on now and tell me you do not want to scream the chorus.
The unconventional and funky flavours and electrifying energy of Ocean Grove made a lasting effect on attendees of the Monolith Festival. The sun was still in the sky as Ocean Grove took to the stage, as I turn around, we are covered in darkness. I leave the pit out of breath, elated and beyond happy. 

The crowd has amassed monumentally, ready for the two big acts to close out the day. It did not feel like all that long before Cog are before us. Fans begin to sway and fill the front of the stage as Bitter Pills begins with its lengthy and mysterious opening. 

COG‘s set, which is shaping up to be an excellent blend of their very early bangers that have stood the test of time and later material the crowd has fallen in love with, is best described as melodic, heavy, and intricate. We get to sing along to Anarchy Ok and What If, after the ferocious nature of Ocean Groves set the energy is lower and the songs longer as they create an ambient atmosphere.
The Middle and Open Up, two more recent songs, seamlessly blended into the nostalgic setlist. Bassist Luke Gower and vocalist/guitarist Flynn Gower bounce off each other, seeming extremely happy to be on stage together once more. The sense of comradery is extremely evident up there tonight. I am incredibly impressed by their ability to play almost identical to the recorded version.

Closing out the set with favourite Bird of Feather we are all singing in unison. For a track that was released in 2008, it seems the whole venue know it word for word as friends and strangers are arm in arm singing at the top of their lungs. This track transports me back to high school and I could not be happier to be here today with my best friend, as we dance around and adore every moment. 

As Karnivool‘s performance time drew near, a sheer black curtain went up, not blocking the view of much at all. The instrumental for Fear of the Sky began to play, lights and shadowy figures began to appear. As the stronger beats slowed down, the curtain fell, revealing Karnivool in a haze of light. The audience went wild! 

It’s no surprise most of the punters are here for Karnivool. Spotting Karnivool shirts at the train station, bus stop and more and more at the festival as merchandise is purchased. Fans are utterly devouring Goliath, Animation, Set Fire To The Hive as they swing their arms, dance, and headbang in the pit.
Ian Kenny’s vocals are astounding. If you have listened to but 1 Karnivool track and attempted to sing along, you quickly realise how difficult those songs are. Add on a festival appearance, cool wind snapping at your face and a smoke machine filling the stage every few minutes, Kenny keeps his top-tier vocals throughout the performance.
Simple Boy is an example of his remarkable vocals, as the crowd help, singing it as loud as they can. 

Kenny praises the superiority of Australian music. We all yell in unison. Who would have thought COVID lockouts would ever occur, and now that Karnivool is entertaining us as they have never left the stage? The drums of Steve Judd are strong and beat throughout the farm, he is hitting those skins so hard I question if he will need a change out midway through!
Roquefort and Themata from 2005’s album of the same name, Themata, are very evident crowd favourites. As a DJ of Sydney heavy clubs, I played/heard Themata every week for my entire 20s and I am brimming with nostalgia. The crowd dances and throws their fists to the sky, smiles across everyone’s faces until they close out their set with New Day. 

Karnivool is not done with us yet. The Aussie legends return to the stage for two more tracks for the hungry crowd who were whipped up into a frenzy more by with All It Takes, one of their more recent and heavy from 2021. With Fade, the great concert came to an end. The crowd went wild, making the most of the evening’s final song.
The audience was content by Karnivool, but they eventually wanted more! A tribute to the renowned Australian progressive rock group. 

The first Monolith Festival in Sydney went down in history for many as the black-clad crowd, many in Karnivool shirts by now, exit the green pastures of Bella Vista Farm. Without a doubt, the day was a huge success, each and every band put on outstanding performances that captured the attention and hearts of all.  

The size of the festival was spot on, no clashes meant every act got the attention they deserved and a moment to shine. A free shuttle bus was parked outside the venue to transport the droves home or to the pub safely, to no doubt, recall stories of the day well into the night and year.
Here’s hoping Monolith becomes a festival staple. 

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Album ReviewReviews
August 15, 2022
Megan Milner

Arch Enemy – Deceivers

As female metalheads, we acknowledge that men dominate our scene and personally I’ve never had any issues with it. They have created works of art that will endure a lifetime, served as the soundtrack to some of our favourite moments, and influenced us greatly. However, when a woman is creating heavy metal that can compete with the best of the best, we are immediately proud. 

Angela Gossow, the original lead singer for the Swedish melodic death metal band Arch Enemy carved a path for many. As Gossow fronted the band from 2000-2014, this covered my seminal listening years and I loved the moment where many would say ‘wait, this is a female singing?!’. Canadian Alissa White-Glutz took over the vocal reigns in 2014 and she had big shoes to fill but has done so effortlessly. Gossow still remains a business manager for the band, and no doubt has watched on proudly as Alissa carries on the legacy.  

Releasing 6 singles before the full album could make many question if Arch Enemy has dropped their strongest songs leaving the fillers behind, but this album is all killer, no filler!

Opening Arch Enemy’s 11th studio album Deceivers, is Handshake with Hell, the intro builds and you’re instantly picturing lights illuminating a stage as they all enter. It is a blindingly heavy track, an opener to show the world they are not here to mess about! To the tail end of the track, the drums of Daniel Erlandsson are stripped back momentarily for Alissa to show off her clean vocals.  

Deceiver, Deceiver will make all those who partake in circle pits rejoice. It’s fast, it’s heavy, and only lets up to get heavier. Somehow Arch Enemy has perfected making the headbangers, the circle pit runners and the singers in heavy metal crowds happy within a single track. Alissa’s vocals keep blowing me away, from the low gutturals to a higher pitched scream they have only grown stronger over the years. Deceiver, Deceiver was released in October of 2021 and has a film clip to match. At the time, the album had not yet been announced and was released along with House of Mirrors and marketed as standalone singles. 

In The Eye of the Storm was the first track I heard from the new album and I could go to battle with this song. As Alissa bellows ‘The chase is on, the traps are set..’ even sitting at my desk, my fist is high. Released on July 14th, the track already amassing half a million streams. This one was written for a live setting, and personally, I cannot wait to experience it.

The combination of two of metal’s most loved axe men Jeff Loomis and Michael Amott creates an atmosphere only possible by a true musical connection.  

My stand-out track on the album will have to be The Watcher. It’s aggressive and fast, giving Erlandsson a chance to really show off. The verses are thrashy leading into melodic choruses, where the guitars harmonise with the vocals before a quick tempo change that would make power metal fans extremely happy. The outro flows beautifully into Poisoned Arrow a brief guitar lick offers the listener a momentarily dip in the assault from the first 4 tracks. The song is constructed as a story and flows and ebbs superbly. 

The doom that Spreading Black Wings provides is true Arch Enemy. Each member is a true professional playing their instrument to near perfection, and this creates a seamless track where they are as one. Too many times metal bands are pushing the lead guitar to the front, or the vocals over the drums yet the production on this album is fantastic. Producer Jacob Hansen has worked with artists such as Volbeat, Amaranthe, Fleshgod Apocalypse, and Epica to name a few. He even lends his vocals to Sunset Over The Empire. 

The final two tracks are not here to carefully deliver you to a peaceful conclusion. Arch Enemy is not done with us yet! One Last Time nearly feels more cheerful. The chorus would be crisp, high notes if Arch Enemy were any other band, but Alissa is not any other vocalist. Her loud, heavy vocals remain consistent throughout, barely dipping to murmur ‘patience is running out, It’s wearing thin, seems like I’m slipping, losing ground’, the collaboration between Alissa’s vocals and the guitars continues to impress me. Sharlee D’Angelo, Arch Enemy’s bass player, is considerably more noticeable in this track and has always been a backbone of the band’s low end. 

Jeff Loomis’ superb leads on the final song, Exiled from Earth, add a lot of richness and vibrancy. I can see this being a terrific ending for the live performance because it simultaneously appears to wind things down and leave you wanting more at the same time. It is anthemic and approachable, like most of this record. 

I am so glad I gave Deceivers a listen because it is all I could have hoped for in an Arch Enemy record. Being a metal DJ for so long temporarily turned me away from them, but this is a perfect reunion. Deceiver is a terrific album that honours Arch Enemy‘s past and shows off its continuing strength. 

It is such a strong record that has greatly reignited my enthusiasm for the group and look forward to their return to Australian shores as they have not been here since 2018 appearing on Download Festival and accompanying headline club shows.  

May Arch Enemy’s new album Deceivers be the soundtrack to your weekend with your air guitar strapped on tight. 

Pick up Deceivers from your local JB HiFi or online here
Alternative versions are available here

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Gig ReviewsReviews
June 30, 2022
Megan Milner

[Review] I, Prevail @ Big Top Luna Park, Sydney – 28/06/2022

Every time you visit Luna Park, it is a memorable occasion. The massive Sydney Harbour Bridge stands tall above you, the harbour stretching over the horizon, studded with distinctive ferries, and in the distance, the lights of the CBD glimmer. 

In my opinion, approaching Luna Park’s iconic visage never becomes old. Sadly, there is where the walking comes to an end. Around the merry-go-round and to the foot of the mouth, a line of music lovers forms. We are not given an explanation for why the line is so lengthy and remains so long after the show has begun. 

Due to the delay entering the venue, I miss the only Australian band on the bill, Windwaker. Yet from the volume of their shirts in the crowd, all signs point to them winning over many. I made sure to turn on alerts for their next Sydney show to make up for tonight. 

Scanning the crowd this evening there is a real melting pot of hardcore, goths, cyber girls, metalheads and very normal-looking music fans who more than likely came directly from work due to it being a Tuesday night and Sydney’s battle with train strikes. As this show was originally scheduled for 2020, not a single ticket holder was missing out on tonight finally receiving the green light. 

The first of 2 international artists are Pennsylvanian metal titans Motionless in White. Their blood-splattered backdrop hangs prominently as the floor fills with anticipation, and it is packing tight.

The lights descend as the very ominous intro to Disguise emits through the room.  Lead singer Chris Motionless, already a very tall guy, stands on a case at the front of the stage towering over the crowd inciting a huge sing-along to the chorus.
I am blown away by how close this sounds to the recorded version.

No time is wasted as they catapult into Necessary Evil in which the album version features Jonathan Davis from Korn. Second guitarist Ryan is missing, and after a quick social media scan, I cannot find any reason as to why. We hope he is ok!

The band’s theatrical make-up and clothing lift the performance, creating a more dramatic and sinister feel. I’m a sucker for a goth get-up.

Even with a member down, they have the excited crowd in the palm of their hand and as the floor bounces to Thoughts and Prayers, my jaw drops to the floor as I turn to my partner and exclaim ‘another band has to follow this!!’. At this point, I am not sure it is possible.

After a long 5 years since we have seen Motionless on our shores, they are humble and thankful at the reception as they blast through Cyberhex, Reincarnate, and Voices.

The intensity in which drummer Vinny Mauro is assaulting the skins is astonishing, more so that they’re still in one piece! It ricochets throughout the venue and every organ. Bass player Justin Morrow is a fantastic singer and compliments Chris perfectly.

A mix of technical difficulties and vocal strains hinder the tail end of the performance as Chris is obviously struggling but doing a terrific job keeping the crowd happy. Earlier seamless transitions between screaming and clean vocals take a bit of a dive.

For the second last show on the tour, in winter and being a road dog, we can only sympathize!

Having released an album on June 10th, it was nice and fresh as we Aussies are some of the first to hear the new material live. Scoring the End of the World is the new track selected, with many in the crowd already knowing the words.
Closing out the set with the beloved song Eternally Yours they morph into the Boyz II Men of metal handing out long stem red roses to lucky punters close enough to reach.

It was a fantastic set of crowd-pleasers; I’m looking forward to a headline tour of theirs hopefully one day soon.
From the reception, Motionless In White received I was unsure if everyone would be sticking around for the headliner. I am promptly proven wrong.

The stage has transformed as the members fill the stage; it looks stunning! Lead singer Eric Vanlerberghe storms to the front of the stage to begin powerhouse track Bow Down. I, Prevail are a newly discovered band of mine, and I was not aware there were two lead singers. You can imagine my excitement when Brian Burkheiser, who mostly takes care of the clean vocal’s leaps from the depths for the chorus.

They waste no time kicking off Gasoline from 2019’s Trauma, an album jam-packed with hits, I’m hopeful we’re in store to hear many of this evening.

The entire band commands the stage like pros as they cruise through tracks such as Scars, DOA, and crowd favourite Hurricane. While Eric takes care of the lows, and Brian the highs, I’m amazed to see them lower their mics and allow guitarist Dylan a chance to sing and he’s just as good as they are!
Rise Above It appeals to the fighter spirit within, I see people hoisted onto shoulders to sing it loud. This song also holds another talent of the singers, they can rap!
Brand new single Body Bag was recently released on June 17th, resulting in Australians being lucky firsts (just as we were for Motionless) to hear the track live. It is heavy, it’s fast, and just what the pit needs. A shout-out is needed to the lighting crew, just spectacular!
At this point, the crowd would do anything they are told, the energy is electric! A few songs earlier, one of the souls on a friend’s shoulders smashed a shoey in true Aussie fashion. Eric seeks out this bloke to join him in another. There is nothing we love more than seeing internationals take part in this disgusting tradition. 

Their songs are connecting on a deeper level tonight. While we have all been missing live performances, we forget how much of an impact the last few years have placed upon artists. After a short drum solo by skinsman Gabe Helguera the lights soften as a solo Eric walks slowly on-stage performing Goodbye, which may only be a short interlude on their album, yet it flows perfectly into Breaking Down.  Brian takes a moment to speak from the soul. Detailing how hard the lockdown was on him and that he almost gave up, and it was his family in the band that pulled him through. Not only did he speak from the soul, but he is also singing from the soul, the lyrics are pouring from an honest and pure place. I am truly moved. 

The energy is restored with Deadweight a heavy track with a fantastic chorus that the entire venue joins in before the band exit the stage. Earlier that day I saw a meme that said, ‘encores are peekaboo for adults’, as I tell my friends around me about it, Eric returns to the stage saying ‘PEEKABOO’. I had no words. 

With six sold-out gigs, the band is grateful to everyone who came out. Even as the pit splits in two, they continue to rile us up by shouting, “You need to give us a reason to return.”
Come and Get It is the evening’s closing track. Eric tosses in a cheeky ‘Oh wah ah ah ah’ from Down With The Sickness, which instantly makes everyone in the venue smile. The band flies around, side to side, even flipping each other off; there’s a real sense of camaraderie among them, and they’re taking in every minute just like we are.

Throughout I, Prevail’s set, I took up my phone to take notes for this review. I could only stand and watch, unable to put my experience in words.

I was absolutely blown away.

Even without knowing many songs, I enjoyed every moment and the journey on which the songs took us was unforgettable.

Do not sleep on I, Prevail. They are a force to the reckoned with and cannot return soon enough. 

Their new album True Power will be released on August 19th through Fearless. 

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Gig ReviewsReviews
June 5, 2022
Megan Milner

[Review] The Bronx @ Crowbar, Sydney 22/05/2022

A cold, dreary, raining night is enough to deter many from the most exciting events. Partnered with a Sunday night, you have a recipe for disaster.
The die-hard Sydney rock fans have completely missed that memo because the Crowbar is filled to the brim this evening, with wide smiles and beers in hand. 

Tonight, we welcome back The Bronx, a punk rock band hailing from Los Angeles, California.
They have been mighty good to Australians over the years, visiting often, releasing plenty of material and even multiple stops in the same city as tonight is show #2 in the same venue. 

Joining The Bronx this evening is Sydney’s off the rails younger brother’s Totally Unicorn. Their energy is unrivalled by most and ensures the crowd is left smiling (and a little confused) at every show, tonight is no exception. 

For $40 you are not usually treated to two international acts, but that is what we got served!
West London’s five-piece Chubby and the Gang, have built their reputation for fast-paced shows that are gone almost as quickly as they begin. They reminded me of the old school snotty English punk, although performed with incredible musicianship. Their brand of no apologies English punk makes me smile imagining this show in a filthy underground venue in their hometown. 

As someone who is used to weekend party shows, I am surprised when the lights go down before 9 pm. The headliner has arrived!

Tribal drumming fills the venue as the band enters the stage one by one. There are no egos, they all walk out ready to work and have a good time.

Vocalist Matt stands at the helm with his signature smile declaring ‘night two, just for you!’.
Is he lulling us into a false sense of security? Absolutely.

A scream erupts from deep within to kick off Heart Attack American and the crowd does not miss a beat to set off a pit. 

His ability to switch between their heavy songs to more melodic is seamless. They waste no time launching into well-known tracks such as Shitty Future, I Got Chills and White Shadow. Guitarist Ken Horne’s view is disrupted by a large stack of speakers but his tone through said speakers is undeniable, the band are tight and plays every song like true professionals.  

A few of the members did a guest DJ set in the venue the night before, after their first Sydney performance. My brother attended and reported that Matt was hoping that night tonights will be the most hungover show they have ever played.
As the band take a quick beer break, he tells the story of stumbling out of the same venue at 4 am resulting in him questioning every life choice later in the day. He raises his beer to the weekend warriors who are returning to work the very next day. Thanks, Matt, you’re the best. 

The Bronx’s music is already so much fun recorded, but live it is a different monster. With big catchy choruses and ‘Woah Oh’s’ that the crowd can join in on really bring the energy in the room up a notch. Superbloom takes off with speed and precision, and guitarist and founder Joby keeps the crowd in the palm of his band.  

The honour system joined the party as singer Matt tells the crowd ‘If you weren’t here last night, you must crowd surf to the next song’. As all Californians do, the next song is dedicated to their home, Los Angeles. We return to their 2003 album for They Will Kill Us All (without mercy) to the crowd’s delight. Arms and legs are seen thrown around the crowd as they are doing what they are told and the crowd surf throughout the small venue. After 20 years as a team, the band have not lost an ounce of energy, vitality, or integrity, with the group still throwing everything into tonight’s performance. 

Former Queens of the Stone Age drummer Joey Castillo, a heavy hitter, brings a huge new dimension to older tracks such as Six Days a Week as well as their newer, more rock ‘n’ roll numbers. If Matt could stand still for a moment, Joey could take out the title of the hardest-working member on the stage, it’s a close one! The set is rounded out by Around The Horn off 2006’s The Bronx (II), as the band exits the stage. The energy is still high and the house lights are not yet on, the encore chants begin and within minutes the band return with fresh beers and even bigger smiles. 

There are a few songs in my mind that I know they have not played yet and greatly looking forward to. Although we are taken by surprise as The Bronx treat us to a Motorhead cover that they have never played before. Their take on Over the Top could make an unknowing listener believe it’s one of their own. As the opening notes of Knifeman are pronounced, we must come to terms that this is the final song. Thankfully, it’s dragged out to allow the crowd and the band to soak up every last moment of this fantastic evening.  

The band bid us farewell, leaving everyone hungry for more. Their last album The Bronx IV was only released last year, yet with how frequently they produce material; we can only hope new work and new dates are announced sooner rather than later. There are a handful of shows left on this tour across the country before they hop over to visit our kiwi mates.
Make sure you get down to a show and have a hell of a time! 

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