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2022

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Album ReviewReviews
May 20, 2022
Cassandra Hale

[Book Review] Paper Paradise – Glenn Wheatley

When the book is narrated by the author just months before he left this world it instantly evokes chills from the opening words. The life of Glenn Wheatly is celebrated in Paper Paradise, the ups and downs, a no holds barred very candid look at one of the best in the music biz.

The introduction is penned and read by his son Tim and I was tearing up within minutes. A beautiful dedication to his father and a wonderful insight into the man Glenn was. An amazing addition was the re-recording of Because I Love You by Tim himself, a stunning rendition and one that made me stop and listen for the duration

With a career spanning 40 years, there was certainly a lot to get through in this book and the narration was smooth and sharp. Glenn does an amazing job and puts lots of expression into his words, his emotions and feeling coming through in every chapter. With a few false starts, Glenn’s music career took off as a bass player in The Master’s Apprentices, known to anyone and everyone and they went on to have many top ten hits. There was a massive success with Little River Band, not just in Australia but also hugely triumphant in America with Glenn at the management helm. Then in 1986 everything changed for Glenn Wheatly as his record label Wheatly Records produced his friend John Farnham’s album Whispering Jack, this still remains Australia’s highest-selling album and one that can be found in nearly every home in Australia, mine included. His friendship with John Farnham was one that never wavered, friends, until the very end and is beautifully depicted throughout this book.

This book was so full of information that my head was literally spinning as I listened, how could one person possibly fit so much into his life journey, together with having a wife and family. But as you read you can see the early starts and late nights were just part of how Glenn managed his time. Paper Palace is such an informative book; it is a who’s who insight into not just the music industry but also FM radio and corporate takeovers. EON FM was launched by Glenn and was the first commercial FM station to air in Australia in 1980. If you are as old as I am you will remember EON FM fondly, but for the younger generation you now listen to it as Triple M. What an achievement to be part of, there were so many times I said to myself “I did not know that!” Glenn had so many fingers in so many pies it was exhausting just listening.

Paper Paradise did not shy away from the lows and there were a few throughout the 90’s but it was with grit and determination that Glenn fought his way back up to the top. Resilience to keep his family together, whether it was in a Toorak mansion or on a blow-up mattress on his friend’s floor was always a priority. His love and dedication to Gaynor and his three children Tim, Kara, and Samantha was evident and shone through over all the dark days.

The book was released originally in 1999 with Glenn recording the audio version just months before his death in February 2022. This updated release is out now and the voice we have all grown to know over his 40 years in the industry will live on for future generations. If there was ever a handbook for anyone looking to start out in management this is it, such an informative read and one I would highly recommend.


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Gig ReviewsReviews
May 9, 2022
Tammy Walters

[Review] Our First Kiss Festival@ Melbourne Pavillion, Melbourne 7/05/2022

As soon as Our First Kiss festival was announced, as bought to us by the incredible team at Destroy All Lines, the needle in my memory record player became permanently stuck on the monster 3Oh!3 track featuring Kesha, leading to a high school time capsule bursting open. 

Reels of moments in time flooded my temporal lobe from spending way too much time becoming an HTML master coder to create the ultimate MySpace profile (full of mirror snaps with puffy hair and smudged thick black eyeliner, ‘raaawr <3’ captions and the best scene bands as your top friends), religiously attending battle of the bands to discover the next big scene gods, and naturally spending all of my spare cash at Dangerfield on band tees, studded belts and Emily the Strange merch. Ahh the good old days…

Like the generations before us – the rockabillies, the hippies, the punks, the grunge gurus – we all still hold onto that defining period of our formative years, and Our First Kiss was an indicator of that knock-white grasp.

Watching the sea of former scene kids swarm upon Melbourne Pavilion this cold May evening offered two thoughts – one of pure youthful excitement for the stacked lineup and one of comfort in the fact that I was home with my people. We’re all still donning the band tees, the black skinny leg jeans, the tartan, the skater skirts, the fishnet stockings, and a variation of vans, converse, and Dr. Martens. The mega side bangs have evolved but the unconventionally coloured hair and piercings a-plenty remain. The wings on our eyeliner have been tamed but the sentiment is strong – we are emo kids, hear us RAWR.

And we did… to the bands that helped shape, and are continuing to shape, our pop-punk and Emo scene in Australia.

Typically a venue for glamorous weddings and functions, Melbourne Pavilion is a stunning setting thanks to the Sia-worthy swinging chandeliers and dome ceiling. The dance floor which has seen many emotional first dances swept across it was filled with feet ready to jump. Propped up in the corner were giant mirrors marked with lipstick encouragement titled ‘Mirror of Expression’ where patrons could scrawl their own words of wisdom along with a must-have photo booth. Back in the foyer was a free hair and makeup station from the glam team at the Academy of Makeup and a merch desk. Taking a right turn to the outside area was the food truck festival with burger and Mexican menus. For a 5 PM indoor festival setting, Our First Kiss paid attention to the emo hearts’ detail.

From newer addition and revivalist local act Terra to the 2008 tiger stripes of Closure In Moscow, Dream On Dreamer, The Getaway Plan, Short Stack and The Veronicas, adding in the nostalgia noose of DJ sets from Bangs finest DJ’s, Our First Kiss musically could not disappoint.

Terra, who have been sweeping the festival slots and have just launched their latest EP Reverie, delivered a stellar opening set full of swirling hooks and larger-than-life vocals – two key ingredients to the emo music makeup and a damn fine way to start the evening.

A personal favourite, Closure In Moscow, offered a faultless set of tracks from their debut baby First Temple and prog product Pink Lemonade. Wearing a vibrant pink co-ord, Mansur Zennelli, started the wheel rolling for top-notch showmanship. With an exaggerated dramatic flare, including gun hands and nail-biting, Zennelli elevated the impeccable musicianship onstage tenfold. Also if you haven’t heard their EP The Penance and The Patience, quit wasting time and stream that album already! 

Our First Kiss got changeover slots spot on by involving Bang DJ’s Rayve Moor, Maddi Nightmare, Tropical Depression, and Rayden Joy. Between the live sets, these tune-fishers curated the most emo-filled playlists imaginable with belters tracks from Emo Gods My Chemical Romance, Paramore, A Day To Remember, Escape The Fate, Pierce The Veil, AFI, and more inducing monumental sing-alongs across the night. 

The singalongs hit full swing as The Getaway Plan took to the stage. With huge hit ‘Shadows’ opening their set, Matthew Wright and co-performed their guts out, proving range does not age. Teasing that they went overtime and breaking each and every punter’s heart before launching into one of Australia’s most recognizable emo anthems, ‘Where The City Meets The Sea’, The Getaway Plan dominated the Our First Kiss stage.

You want showmanship? You want banter? You want crowd interaction? Oh, hey there Short Stack!

There was nothing short about this show, from walking on to ‘It’s Raining Men’ to covering banger ‘All The Small Things’, these lads were on fire, accurately summing up their set with the following comment: ‘you can see their eyes and ears bleeding from the musical amazingness’.

As the disco ball spun overhead and ‘Freak’ by Australia’s best band Silverchair erupted, the stage filled with smoke. An emergency alarm sounded for an intruder alert. There was a breach in festival security – The Veronicas infiltrated Melbourne Pavilion for an adrenaline animalistic experience. Australia’s twin-pack pop-punk princesses turned pop goddesses may be small in stature but they deliver larger-than-life sets. Our First Kiss was no exception. Whilst no wall-of-death erupted this time around, the crushing weight of their talent hit like a tonne of bricks. ‘4Ever’, ‘Everything I’m Not’, ‘When It All Falls Apart’, screamo star ‘Mother Mother’, ‘Hook Me Up’, ‘This Is How It Feels’, ‘You Ruin Me’, ‘Take Me On The Floor’, ‘In My Blood’ and the national anthem ‘Untouched’; there are no words to describe a set of this proportion. The best of the old, the best of the new – simply, the best!

Our First Kiss could have been sloppy and somewhat awkward but so much thought and love went into it that it left us feeling all fuzzy inside, magical, memorable, and thinking about the next kiss.

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Album ReviewReviews
May 5, 2022
Cam Brown Visuals

Simple Plan – Harder than It Looks

Review by Cam Brown

Nearly 20 years after I first heard their debut album “No Pads, No Helmets….Just Balls”, and had it on high rotation in my multi-CD stacker, Simple Plan has returned with their 6th Studio album.

Their first independent release “Harder Than It Looks” produces that well-known Simple Plan sound, but like red wine, has matured in flavor over the years.

The album opens with a piano riff, which makes you wonder what’s in store, but it doesn’t take long before the signature driving guitars kick in, soon after Pierre Bouvier’s distinctive and instantly recognisable voice joins in, and you know you’re in the land of Simple Plan.

“Wake Me Up (When This Nightmare’s Over)” has some poignant lyrics about the world’s current situation and the band has used this to raise funds for the UNICEF Ukraine Emergency appeal and has also used a Ukrainian director and actors in the video clip to further push the emotion of this song.

“Ruin My Life” is a typical Simple Plan. Great dynamics with the song continuing to build throughout, guitar riffs, harmonized vocals, and of course in true Simple Plan, a collaboration. This time featuring Deryck Whibley from fellow Canadian Rockers Sum-41. However, to me, this feature was a little bit lacking only appearing for a verse and I felt they could have done a little more with it. He may have just been added as some additional promotion to the current blame Canada Tour across America with Sum-41. No detriment to the song as it would stand on its own with or without Deryck.

 “The Antidote” the story of young love as the music video entails, or just a song about someone people can rely on, starts some of the journeys of a modern Simple Plan. Combining their pop-punk with a little bit more of a modern rock spin. The band had this to say about this track.

 “The song is a throwback to our classic Simple Plan sound, but with a modern twist. It has all the elements our fans have come to love and expect from our band: a big, energetic chorus and honest and heartfelt lyrics that deal with life and the struggles we all face. It feels like the perfect starting point and a great preview of what’s to come on the album”

 “Million pictures of You” & “Congratulations”, the latest singles off the album continue in the sound direction of “Jetlag” with their upbeat and even happy pop-punk anthems. I would even throw “Slow-Motion” the second last track on the album into this category.

“Anxiety” is where the album changes and produces a track that could be by many other modern pop artists. The lyrics are true to form providing something, as Simple Plan lyrics often do, that many fans could relate to and the reason why many of us started and continued to listen to Simple Plan across the last two decades.

Providing riffs that could be used across many action/sports tv shows not forgetting to mention recaps of the season, “Iconic” provides another modern take on the Simple Plan sound. Brass grooves combined with the marching band feel provide an Anthem that drives you on just to prove people wrong and become an “Iconic” legend.

“Best Day Of My Life” is just a throwback to old-school Simple Plan. Energetic, fast, heavy showing they can still rock it as they used to.

The final track “Two” gives you all the feels of childhood if you grew up in a split family. If you were writing a musical just using Simple Plan songs this would pair perfectly with their Symbolic hit “Perfect”.

Overall Simple Plan continues to produce great music, keeping plenty of their original sound but further enhancing their sound and developing as an artist.

“Harder Than It Looks” doesn’t provide a single stand-out track to me that I would just continue to play on repeat, but on the other hand, it provides a fantastic album that I would be more than happy to listen to the whole thing on repeat. In fact, the more you listen to it the catchier it becomes, and you will be singing along by the second or third time.

If you have been a fan from the start, you won’t be let down.

My only disappointment in the album to me, in my opinion, is it is a couple of songs short, and I would love it to have one like the acoustic ballad “Perfectly Perfect” as they also do the acoustic style so well.

A score of 8/10 for me, but that good easily go up with a few more listens, or maybe some bonus points if they bring their tour Down Under. 









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Gig ReviewsReviews
April 27, 2022
Daron Jacks

[Review] The Smith Street Band @ Macedon Railway Hotel, Macedon – 23/04/2022

They were literally hanging from the rafters at the Macedon Railway Hotel as The Smith Street Band powered through a set loaded with classics and new songs.

Like every other band that suffered through Covid, Smith Street had to postpone last year’s tour after lockdowns pulled the plug on them hitting stages around the country.

And the 'spicy cough' took another swing at the weekend’s gig with support act the Money Boys succumbing to the Rona and replaced by Joe Guiton, who warmed up the audience.

The Smith Street Band didn’t waste any time setting the tone as they launched into the anthemic and unmistakeable guitar intro of I Still Dream About You for the first of many crowd favourites.

Will Wagner, possibly Australia’s most underrated hard-rocking storyteller, captivates with emotive lyrics delivered in equal amounts of singing and shouting that has the band on par with other great Aussie pub rock acts of the ‘80s, such as Hunters and Collectors.

It’s a fine act that can have you one minute absorbing a sad tale (Young Drunk) before belting out a killer chorus that has an overjoyed audience arm in arm all singing “tonight I’m getting young drunk!”, of which many of us did.

It didn’t take long for sweaty young blokes to burst into a mosh and see bodies swinging off the pub’s rafters and sliding on spilled beers.

The Railway Hotel is fast-gaining a reputation for attracting great live music in a venue perfect for an intimate acoustic session or roof-raising rock show, or chin-ups, which there was plenty of this night.

The energy in the room turned up as fast as beers went down with Wagner bellowing out hit after hit as the band move seamlessly from song to song.

Wagner’s physical presence on stage is as big as his voice, wielding his guitar around like a chainsaw and dripping sweat that invites punters to get up close and party.

They delivered over a decade of hits, including Death To The Lads, Don’t Fuck With Our Dreams, Passiona, and a taste of what’s to come on their soon to be released new album, that left us wanting more after so many false starts to seeing them on stage again.

The Smith Street Band is touring regional Victoria and you would be mad to miss an opportunity to see these powerful pub rockers in action.

Friday April 29 – Torquay Hotel, Torquay * 

Saturday April 30 – Volta, Ballarat *

Friday May 6 – Kay Street, Traralgon ^

Saturday May 7 – Pier Bandroom, Frankston ^ 

Friday May 13 – Westernport Hotel, San Remo ^

with special guests

*Money Boys ^Cheap-Skate

Tickets on sale now
www.thesmithstreetband.com 

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Gig ReviewsReviews
April 27, 2022
Tracey Moyle

[Review] Full Tilt Festival @ Eatons Hill, Brisbane – 23/4/2022

After four false starts, Full Tilt Brisbane's leg beat the pandemic, finally hitting the ground at Eatons Hill Hotel last Saturday.

Still the current trend, with festivals of any form, come last-minute changes. With a sad blow for fans of The Bennies, the events Facebook page announced the band had pulled out last minute. Event openers, Closure moving up into their place.

The dual-stage event had an ‘Outdoor’ and indoor ‘Ballroom’ stage set up ready for the bands to entertain the eager masses. A light rain played tag with the sunshine throughout the morning with sunshine winning round one as Sydneysiders Reliqa, opened up the outdoor space.

The band took over the stage, bursting with energy from the get-go. The dynamic frontwoman Monique Pym led the eagerly awaiting music fans into the festival vibe. Their versatile frontwoman worked the crowd from the front of the stage and from behind the keys. They played through popular tracks including Hangman, Déjà vu, and the new single Bearer of Bad News.

Dominant bass combined with Pyms keyboard skills creates a metal soundscape opening up a whole new experience leaving the gathered crowd enthralled. Add in massive riffs, and belting drums from new addition Ben Knox, Reliqa saw that the festival was off to an impressive start.

Inside Brisbane locals, Stepson opened up the Ballroom stage with ferocity to a near-packed room. The intensity pushed out across the crowd injecting their high-octane brand of hardcore into the packed space. Playing through tracks old and new the band kept fans on their toes. The crowd clutching the barrier hanging off every guttural lyric. Dual vocals from Brock Alan Conry and bassist Nick Bennett created the perfect balance for their sound. Singing along, it was obviously a large portion of their home crowd were there to see Stepson.  They wrapped up the set with the track Deeper Sleep. The Ballroom stage was in fact, now wide awake. 

Back outdoors, one of the country's most admired punk/alt rock acts Luca Brasi do what they do best hitting the stage to an eager fanbase. The punk favourites played through as many of their popular tracks as they had time for, from Never The Right Time to Tangled: Content. Possibly one of the most underrated rock bands in the country, their fans connects fully with the magic and passion the band obviously channels through their music. No strangers to the festival circuit their live show creates the perfect vibe for fans to carry throughout the day. How this band has never risen higher into the mainstream is beyond me.

As Luca Brasi had fans joyfully jumping just meters away, Justice For The Damned called for chaos hyping up the crowd on the Ballroom stage. The popular deathcore outfit opened up at a rapid pace, Vocalist Bobak Raffiee demanded the crowd “open this pit up” as bodies unleash a frenzied force of pent-up energy. The crowd was ready for the pandemonium. Days of the pandemic induced sitting down at shows a distant memory with the sweaty chaos of the pit a welcomed return for hardcore music fans. This release was needed for both band and fans.

It’s evident the focus is a metalcore crowd with punters outside already lining up ready for the next Ballroom act Void of Vision.

As a light rain settled in, Sydney pop-punk/emo band Slowly Slowly took over the outdoor stage.

The crowd engulfed the outdoor space, gathering in mass for this popular alt-rock/punk outfit. The vibe is at a peak with girls on shoulders, crowd jumping along to the music as the band opens with Blueprint. The festival spirit is in force.

Slowly Slowly define the modern music sound with so many aspects to their sound, indie/punk/alt/rock all in there. They have created their own genre-diverse brand, and it’s a crowd-pleaser. Vocalist Ben Stewart strikes a certain emotive chord in the crowd with his ability to inject a wavering force of emotion into his melodic vocal.

They play through as many songs as possible including Creature of Habit Pt 2 and popular track 19 bringing out the pipes in the crowd. Only at an Aussie outdoor festival will you see all the colours of the Power Rangers crowd surfing. This defines the atmosphere at the outdoor stage.

An intensely penetrating bass opens Void Of Visions set to a capacity crowd in the Ballroom. Vocalist Jack Bergin makes a rock star entrance. The intensity of what is about to unfold is not lost on one single person in the room. Void of Vision capture a level of intensity many bands aims for. They open with Into The Dark and play through popular tracks including massive hit Ghost In The Machine sending the already hyped-up room into a frenzy. The crowd is swept away in the moment. The Lonely People took the set out. The crowd left wanting more.

The clouds had set in and light rain continued to fall across the outdoor stage. Mother nature was setting the scene as a silence set in across the crowd. The mic stand was donned with an ethereal-looking mascot watching over the crowd like a demonic guardian as Sydney deathcore legends Thy Art Is Murder took to the stage. An ominous mood filled the space around them. Guttural vocals from CJ McMahon invoked an ‘other worldly’ feel with the crowd channeling energy unique to a deathcore show. The band performed with a theatrical display. The crowd was fully invested in the whole experience. The music was the connecting force bringing the band and the fans together as one mammoth beast.

The band played through their set announcing bassist Brad replacing Kevvie B (Kevin Butler), off in Melbourne for a strongman competition. The Aussie music community has a strong camaraderie especially evident since the pandemic’s onset. Band members fill in for each other when someone is out (commonly) with the 'spicy cough'. They belted out tracks including Make America Hate Again and Holy War. A ‘Wall of Death’ stopped the entire venue, with the mass collision of bodies, a highlight of the day for everyone within sight of the chaos. Reign of Darkness completing their intense set.

Sydney pop-punk/emo band Closure took over the Ballroom taking some chaos out of the pace of the day. The band was meant to open the event but moved into The Bennies' place later in the day. For a newer band, their stage presence was felt across the room. The band played hits including Bedroom, Sink, and Laundry Day and brought a breath of fresh air to a day of music intensity.

Festivals in Australia never feel complete if Frenzal Rhomb isn’t on the list. As Starship classic We Built This City blasted out through the speakers, the very much adored Aussie punks appeared in their orange safety vests ready to do what they do best. The punk rock stalwarts drew a crowd of all ages playing through their short, sharp, loud, and fast set with precision and stamina. They dedicate Mummy Doesn’t Know You’re a Nazi to Peter Dutton. Flew straight into Bird Attack, progressing through a plethora of classic punk tracks. Frenzal have been hitting the tour circuit since the early ‘90s and the band (and their fans) have aged in body but not in musical spirit. The band gave the crowd classics like Uncle Ben, 5000 Cigarettes, School Reunion, Never Had So Much Fun and Punch In The Face. The last track had Luca Brasi frontman Tyler Richardson joining in before jumping in for a crowd surf. The perfect Aussie festival vibe.

Meanwhile back in Ballroom Alpha Wolf attracted a furious pack, with the band working on crowd control moving the hectic pit back from the crushing barrier. The band spoke about being on tour but were glad to be home as they played through tracks like Black Mamba, No Name, and Bleed For You. The room transformed into a massive circle pit. The dual vocals from frontman Lochie Keogh and bassist John Arnold brought a standout element to their brand of metalcore. Akudama finished off the set, the crowd was pumped ready for the next performance.

And what a performance. In Hearts Wake walked on stage masked up ready to electrify the crowd in the best possible way. You know you’re at a metalcore show when security and paramedics are on standby in the pit. The crowd was intense. The mass gathering proving the Australian metal scene is not just alive but thriving post-pandemic. The popular metal outfit from Byron Bay has built a strong following over their 15+ years on the circuit and the crowd reaction to vocalist Jake Taylor joining the band on stage said it all. After congratulations went out to guitarist Kyle Erich on the birth of his baby boy earlier in the week the band took the hungry fans into opener Crisis. The crowd surfing started from the first number putting the security to work and the paramedics on watch. New track Dogma hyped up the crowd, hands up, feet pounding the ground beneath, moving as one. The band blends metalcore, hardcore, and nu-metal genres into an explosive force giving them an edge in what can sometimes become a generic metalcore sound. Thy Art Is Murder’s ‘wall of death’ seemed a practice run as the band called for a wall of death. The crowd knew what to do and opened up ready. Security safely extracted crowd surfers; punters leaving the inner barrier with smiles a mile wide.

They work through their set giving the crowd what they came for with popular tracks Refuge and Earthwalker, then ending their set with the latest releases Son of A Witch and Hellbringer. In Hearts Wake takes melodic hardcore and gives it an ethereal infusion, producing something unique within the metalcore genre.

Moving back into the Ballroom stage is like stepping into a parallel universe. High energy is still the core element, but the contrast is stark. Melbourne pop-punks Between You And Me is full of catchy riffs and upbeat melodic punk taking charge of the Ballroom crowd. Their brand of music may be completely different, but the energy of the band is like watching a power surge take over the stage. Frontman Jake Wilson runs like a hyperactive child on Red Bull bouncing around the stage. Old fans were charging up to Supervillain, with new fans wondering why they’d never seen this band before. They had taken the intensity out of the day and transformed it into a massive party energy. With a four-year gap in-between album releases Between You and Me have just dropped their sophomore album Armageddon, the band playing a big serving of their new music. The aggression of previous bands is transformed into the same level of passion through their set. This passion flowed out across the room as the crowd grew and started jumping along with the band. They were humbled to be playing amongst such epic bands but well and truly earned their late-in-the-day billing. They saved their biggest tracks until last with Dakota having Wilson taking a massive flip off the stage into the crowd. Finishing off with Jake and bassist James “Bassy” Karagiozis, joining in the pit.

Headliners, popular Sydney metalcore powerhouse Northlane, brought the pyrotechnics to the stage taking the night to the level a closing act should. The show started with intensity before the band even took to the stage. The heat from flames bursting from cannons on stage was felt across the massive crowd. The fans seemed almost spent but as soon as the band opened the crowd drew on their final energy stores to take the night out. Crowd surfing, hands in the air, ponding the grass beneath their feet, it was their final burst from a day of intensity. The band released their latest album Obsidian just the day before taking the opportunity to introduce the crowd to their new music. They opened the night with smash single Clockworks the crowd showing their approval. Some newer tracks included the latest singles Carbonised and Plenty and were more than embraced by the crowd. Vocalist Marcus Bridge shows versatility, easily flowing from melodic to hardcore vocals.

They kept long-time fans happy with more popular tracks like Jinn, Echo Chamber and Quantum Flux finishing off the night with fan favourite Bloodline. After an intense and massive day, you would think fans would be ready to hightail it home but the demand for one more song was too great. Northlane returned to the stage with one final track, Talking Heads.

Full Tilt may have been off to a few false starts but if there was anything plainly evident from the day it was that Australian metalcore and punk fans are patient and dedicated. The turnout at Eatons Hill Hotel was in the thousands and the crowd, although at its peak at the end was still at an impressive number from the opening act.

No one went home disappointed. 

BRING ON JULY!!!!!

FULL TILT FESTIVAL LINE-UP: 
THE GHOST INSIDE
UNDEROATH
PVRIS
ICE NINE KILLS
MAKE THEM SUFFER
OCEAN GROVE
WAAX*
THE WONDER YEARS
YOURS TRULY
TEENAGE JOANS
CAROLESDAUGHTER
STATIC DRESS
SAVIOUR
TO THE GRAVE
 
*Sydney + Brisbane only
 
DATES AND VENUES:
SATURDAY 16 JULY – EATONS HILL OUTDOOR AND BALLROOM, BRISBANE
SUNDAY 17 JULY – BELLA VISTA FARM, SYDNEY
SATURDAY 23 JULY – PICA (PORT MELBOURNE INDUSTRIAL CENTRE FOR THE ARTS), MELBOURNE
 
Head to www.destroyalllines.com for more information.

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Album ReviewReviews
April 15, 2022
Jodi Maree

Papa Roach – Ego Trip

Review by Jodi Maree

EGO TRIP, the 11th studio album for California’s PAPA ROACH, was released in April 2022 and has been met with mixed reviews across the board, but the majority appear to be positive. The album reached #115 on the U.S Billboard chart, whilst on the UK Rock and Metal chart it has tipped in at #3.

Since coming together in 1993, PAPA ROACH has been very consistently churning out albums approximately every 2-3 years, with some being very successful and others only moderately so.

This album, in my opinion, has the makings of being one of the former. It has quite the mix of tracks on it, and at times can seem a touch disjointed, but it somehow comes together. If you go into it wanting everything to sound like “Last Resort”, you may be a little disappointed, but if you go into it open-minded and ready for a little diversity, mixed with some old-school sounds, then you are really going to like it.

Straight out of the gate the album opens with “Kill The Noise”, which is a punchy angsty track, with a heavy riff. The track was the second single released from the album back in September 2021, and if Spotify plays are anything to go by, seems to be the most popular. Lyrically it runs with the very prevalent theme of PAPA ROACH’s music, which talks about inner demons, and in particular in this track about the internal rage and voices of said demons, which are just becoming too loud, hence the title “Kill The Noise”. I was drawn to the song immediately and found it very catchy and relatable.

The second track “Stand Up” was the fourth single released from the album, and was released in January this year. It has very much the Nu-Metal sound that has appeared so often in the back catalogue. I get a very RATM meets Sevendust meets BMTH vibe. Weird mix, I know but that’s what comes to mind when listening to this track. Touching on the subject matter of oppression, and the need to encourage us all to “Stand Up”. Definitely a great track though and a stand-out for me.

The first single from this album, and the third track, is “Swerve” which features Jason Aalon Butler from Fever333 and rapper Sueco. While this totally contradicts Jacoby Shaddix’s statement in 2004 that the “rap was gone”, this track is well-produced and catchy, it has a funky little sax bridge, and is likely to appeal to those who prefer the rap-rock stylings. One thing this track does do highlights the diversity of PAPA ROACH, and how they are always looking to move with the times and not be stuck in the early 2000s. And while I am a rock/metal/punk-oriented person myself, I certainly do not discredit musicians whose diversity steps outside of the genres I prefer.

“Bloodline”, the fourth song from EGO TRIP, feels a little darker, and a little more aggressive. A heavy beat, with a catchy pre-chorus leading into a loud and boisterous chorus. As with many of the tracks, this song is short and punchy. None of the tracks exceed 4 minutes, with more than half being less than 3 minutes long. It certainly leaves the listener wanting more, but means you can bounce through the whole album from song to song without feeling like you need to skip a track at all. And while there are certainly some songs that grab me more than others, I really do not think there are any really bad tracks.

The fifth track is “Liar” and this is one that I really like. It has such a bouncy, catchy tune, and the lyrics, while fast and at times a mouthful, flow well. The layered, gang-style vocals of the chorus work really well on this track.

“Ego Trip” is the sixth song on the album of the same name, and if I’m honest is one of my lesser faves. Musically it is great, with the drums absolutely standing out, and also has some real funky bass riffs too. I do find though, that lyrically this one is a little cheesy.

Another one of my faves from the album is track seven, “Unglued”. It has an old-school “rock style PAPA ROACH” sound that I have an affinity with. Lyrically it is cohesive and appears to be about the breakdown of a relationship. Although not one of the higher ranking songs when you look at the album as a whole, I like the sound of it, and have often played it over again for multiple listens in a row.

“Dying To Believe” was released in October 2021, and looks to be right up there in popularity. Jacoby Shaddix was reported as having described this song as having been written to help unify the division that is prevalent in today’s society. Anyone who loves music, knows that, in itself, music is a great way to unite people from all over. It brings us together, it makes us feel whole, and is an outlet for so many to express themselves and their feelings, so I applaud Jacoby on trying to lessen the divide. Lyrically it is deep, and musically it has elements of the new styles we see being produced by some of the world’s biggest artists. More synth, couipled with a very harmonic chorus makes this track super listenable and appealing.

Track nine, “Killing Time”, to me has what I deem as the typical PAPA ROACH sound. Highly identifiable, and one to get you moving. A tad repetitive but nothing so bad as to taint the song.

Anyone who knows me knows that vocals are my thing. I love a great vocal track. On this album, this is that track. I cannot tell you how many times I have played this song over and over again. Jacoby Shaddix has done such a stellar job on “Leave A Light On”.  It is nothing like any of the other tracks on this whole album. It is poignant, deep, and just an absolutely beautiful, beautiful song. I hold nothing back in saying it is my favourite. It’s no heavy rock song or riffing Nu Metal song, but it is the one I just cannot stop singing and playing over again. I would love to see this acoustic song done live!!

100% my highlight of the whole album, even if I am the only one who thinks so!

Track eleven brings in yet another element in what I can only describe as more of a pop-punk/rock type of vibe. “Always Wandering” is definitely catchy, I actually really like this one too. I feel it is referring to recurring issues, whether it be drugs, bad relationships, or mental health.

Saying that somehow it always comes back around. Life is a constant battle for some, and I think, in that respect, PAPA ROACH nails this sentiment in many of their songs., including the next track “No Apologies” Learning to let go of the things we hold deep inside is hard, but listening to songs like this, for some, might just make it a touch easier.

The penultimate track is “Cut The Line”, which is another one of those songs that has a vaguely pop-punk rock sound to it, that is becoming popular right now. The drums on this track are brilliant and Tony Palermo has to be congratulated on his overall performance across the whole album. So too do Tobin Esperance and Jerry Horton, and of course, the one and only Jacoby Shaddix, whom I believe is the driving force behind the success of PAPA ROACH.

And lastly, but certainly, not least is the final track “I Surrender” which starts out heavy, and has a very melodic chorus. Backing vocals are notable and the tale of not running from your past, and accepting who you are seems to be where this song leads you. A great track to close out what I think is an excellent album. I certainly like it far more than the last two albums and have an appreciation for the diversity the album brings. Bands that have been around as long as these guys do well to constantly evolve, try new sounds, and develop further the sounds they have created for themselves. Nearly 30 years in this business is a huge milestone, and I look forward to hearing more from PAPA ROACH in the future.









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April 2, 2022
Midnite Mitch

Meshuggah – Immutable

Review by Mitch Charlton

The lords of the polyrhythm are back with their ninth studio album Immutable and even after 30 years, Meshuggah is still killing it and showing the world they can write some incredible music. Straight off the bat, from the opening track Broken Cog, you know you’ve put on a Meshuggah album, it's their sound, their riff style, you know it’s going to be good, and you know you’ll get what you want out of it.

This album blends amazingly, the song progression from track 1 to track 13, over 60-Minutes of riffing, flows like a river, Immutable is incredibly well written and produced, which you’ve come to expect from this band. This is the kind of album you should have on and listen to in its entirety. Whether the album lyrically is conceptual or not, I am unsure, but the music definitely sounds like it is or at least produced in a way to be cinematic or soundtrack-esque and even has a 9:30 minute instrumental, They Move Below, about halfway through the album. This song breaks up and revitalizes the album, flow, its starts slow and builds all over again to then bring you into Kaleidoscope which brings it straight back into the single string chugginess. On my first play-through of the album, I put it on and just listened without really taking note of a track change and then realised I was halfway through the album, it's just ebbs and flows in the right places.

One thing I have always loved about this band, regardless of what they are playing, you are always able to find the beat and headband along. These songs aren’t riddled with changing riffs, crazy interludes, or bridges, they are generally a couple of different riffs per song and then fleshed out with some lead work here and there. It really gives you time to enjoy the riff and get into the flow of the song, sometimes I find in prog metal that bands try and cram as many riffs into a song as they can and you get “Oh that’s a killer riff….. and it's gone” you don’t find that with Immutable.

The three singles released from this album, The Abysmal Eye, Lighting the Shortening Fuse and I Am The Thirst will give you a slight taster of the album, pretty good choices from Immutable to show off. The Abysmal Eye has a film clip that is visually stimulating as there is a ton of imagery flowing across the screen, vast deserts and of course, eyes everywhere. My favourite track off the album is Ligature Marks, this is ridiculously heavy and ambient. The repeating rhythm just hypnotizes you into head banging, you can’t help it.

Hearing this album, you can hear how Meshuggah have really paved the way for Modern Metal and their influence on the scene, whether the current bands are conscious of it or not. They are a force to be reckoned with when it comes to their craft and this album just further cements that in. I hope that by the time they get to tour this and even get to Australia, they are all fit and fighting, the drummer, and goddamn WHAT a drummer, Tomas Haake has been suffering from a skin condition that has caused issues playing but you wouldn’t even notice from listening to this. Meshuggah are unstoppable and Immutable.









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April 2, 2022
Midnite Mitch

The Agony & Ecstasy of Watain

Review by Mitch Charlton

For me, Watain are the epitome of Black Metal, they are pure aggression, ambient, and moody but above all else, there has always been conviction in their music. You know they believe in what they write about. I enjoy music a lot more if a band can make me as a listener, believe that they believe or stand behind what they are writing about, and with Watain, there is no second-guessing. You know they mean business.

Watain are back with The Agony & Ecstasy of.. their 7th studio album and this is a punch in the face or the petrol on the fire that the Black Metal world needs. This album is aggressive and intense, just as their fans expect, and throughout their endeavor to create brutal and threatening music, there is no clarity lost in their sound. Everything is crystal clear but, on each listen, I find more layering in the music, little guitar or bass melodies like in the doom-laden We Remain, there is always more to find and take from their music. Where the music may slow down in pace, it makes up for in mood or atmosphere, it never feels or sounds less intense regardless of what they are playing.

The two singles released for this album are The Howling and Serimosa, good choices that show off the two moods of the album. The Howling reminds me of Lawless Darkness sort of riffing, a good Black N Roll vibe, whereas Serimosa has a more ambient reverb sound, and the Bassline and Kick pattern really drives home that rhythm at the heart of the song. This album has made incredible use of reverb, the drums sound massive! It is a classic Watain sound, I’ve always enjoyed how their drums sound on an album. The mixing of the guitar and bass is a classic Black Metal sound with the use of tremolo guitars and colder sounding bass holding it all together and providing you ample chance to get into a Black N Roll mood to headbang along from start to finish.

My personal favourites off this album are We Remain and Septentrion. These two stood out just for the epic sounds the tracks provide. We remain is a slower doomier piece featuring guest vocals from Farida Lemouchi, who is the voice of The Devil’s Blood, a band that influences Watain, also another band that practices what they preach, definitely check them out! It reminded me of how They Rode On fit into Wild Hunt, it has a completely different sound to other tracks, a complete darkened affair. Where it lacks the pace and ferocity of other tracks on this album, the intensity and atmosphere are kept evident. Septentrion, the album ender brings it home amazingly, this epic track should be played loud for you to fully immerse yourself in the music. I hope this one makes the live set; it would be incredible on the stage.

Watain live shows are just as dangerous as their music sounds, not in a physical sense but from the gigs that I’ve been to see them, they do incredibly well at proving their conviction and message in their music, it’s animalistic, the feeling they provoke in the audience. The Agony and Ecstasy of.. is quite a fitting name given that these guys most likely went through both of these stages whilst writing this album and they will bring this energy to their live performance and the crowd will have the same feelings. With an already incredible catalogue of material, this album only adds fuel to the fire!





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