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Album InterviewsInterviews

Interview with Tim Gauci (Primitive)

Mitch had a killer chat with Primitives TIM GAUCI regarding their upcoming EP release, WITH RATS AND SNAKES out August 12.

Making their mark on the Australian metal scene since 2016, Melbourne act Primitive are set to strengthen their presence and demand the attention of the unsuspecting, with their aggressive new single ‘With The Rats And Snakes’ – the title track from their upcoming EP, out August 12.

Without limiting themselves to a particular sub-genre, Primitive incorporate their brand of abrasive yet memorable riffs, solos, grooves, and hooks – sounding something reminiscent of the wave of early 2000’s American Heavy Metal & Metalcore styles.

Frontman/guitarist Tim Gauci adds “ ‘With the Rats and Snakes’ is a natural step to a more directed and matured sound. It was a conscious effort to learn from our previous efforts, see what we could expand on, and introduce new elements to draw closer to perfecting ‘our sound’. The title track/first single perfectly encompasses what we’ve done before, and what we’ve recently discovered in the writing room.”

Since their debut and critically acclaimed self-titled EP (2017), and single ‘For the Weak’ (2019), the band have shared the stage nationally and internationally with Max and Iggor Cavalera, Alien Weaponry, Psycroptic, Fleshgod Apocalypse, The Crown, Origin and more. The new EP ‘With The Rats And Snakes’, exhibits a further expansion to their relentless sound and solidifies themselves as worthy contenders to reach the heights of some of metal’s biggest and most respected heavy hitters.

Track Listing
I. Curse
II. With the Rats and Snakes
III. Broken Hands
IV. The Last Nail
V. God Is Beneath Us
VI. Rivers

Pre-Order here: https://primitiveaus.lnk.to/wtras

www.facebook.com/Primitiveaus

www.instagram.com/primitiveaus

 

 

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Gig ReviewsReviews

[Review] The Hu @ 170 Russell, Melbourne 03/08/2022

2 years ago, in the before times, The Hu were here, and were ready to play on the Download line up, then tragedy strikes, the plague times begin, and they get locked in Sydney for a couple of weeks. Now, they are back and hungry as ever to play for Australia and starting off their tour with 2 sold out Melbourne shows!

Rocking up to the line about 45mins early, a little later than normal for me, the line was already around the block and in the alley way behind the venue, people are keen as hell for this show! Doors open and the line moves reasonably quick for people heading straight to merch or the front of the venue for prime viewing, I manage to get my regular spot at 170 Russell, you’ve always got a regular spot for these types of things.

The Blackwater Fever take the stage right on time and straight from the opening chords, I’m hooked. This 3-piece Brisbane rock band sound like Sabbath if they were playing in the deep south instead of London. Think big sounding bluesy style riffs with a ton of reverb, a bassist that also plays keys and then add double that amount of reverb on the drums! Producing a massive sound and holding their own in the thick atmosphere they created, they entranced all watching and the rhythm took over to bring the people in and headbang. The Blackwater Fever prove the point that less is sometimes more, you don’t always need crazy intricate riffs to get people interested, these guys write a damn good tune and a killer opening band.

As The Hu crew set the stage with a drum kit, a percussion kit and then a totem raised in the middle of the stage as well for good measure, the crowd’s anticipation skyrockets. There are cheers, people start pushing to the front and all eyes are on the stage. The lights darken, music starts and The Hu storm the stage in their full leather gear and instruments in hand. What surprised me tonight was how close the music translates from recording to live, with the number of instruments changing on stage with one of the singers wearing a belt of flutes and the percussionist also had things changing every couple of songs as well, everything was audible. One of the main draws to The Hu is the traditional throat singing and vocal harmonies created, they did not disappoint. All members on stage have a microphone and the vocal mix is well done with only one of the main vocals being lower in the mix at some points but watching them sing together is nothing short of amazing.

The sheer happiness and excitement of the band is an energy that is room filling, they didn’t stop smiling or laughing to each other from start to finish. They are incredibly passionate about their music and culture and having that energy come back at them from the crowd, they couldn’t stop jumping and screaming “Thank you” and “Rock On” which were pretty much the only English sentences spoken by them. One of the main vocalists would occasionally have a quick little speech in their native tongue to be met with cheers or people looking around not knowing what was said but there was one girl who made the crowd laugh each time because each time he spoke in Mongolian, we would here “I farkin luv ya” in such a thick Aussie accent. The complete opposites in languages but I’m sure the sentiment was the same.

The crowd involvement for songs like Shoog Shoog, Yuve Yuve Yu and Wolf Totem was electric. The rhythms of this band just sent people dancing and singing. Ending the set on the latest singles Black Thunder and This is Mongo, the crowd and band are relentless, thriving off each other’s energy and getting a circle pit going. They come back for a sweet little encore with a cover of Metallica’s Sad But True and what a cover! What a great way to end the night!

For my first international band in about 18 months, what better way than to get back into it than with The Hu? I had high expectations for these guys, and they blew them out of the park! I hope the rest of the tour is as great as this was.

THE HU
Black Thunder Australia & NZ Tour 2022

Saturday, August 6: Bridgeway Hotel, Adelaide
(Previously Hindley Street Music Hall)
Sunday, August 7: The Roundhouse, Sydney Sold Out
Thursday, August 11: Powerstation, Auckland NZ Sold Out

For complete tour and ticket and information, visit: 
livenation.com.au, livenation.co.nzthehuofficial.com

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[Review] Bad Moon Born @ Bendigo Hotel, Melbourne 03/06/2022

It’s been a fair while for me to be down at the Bendigo Hotel or to a local gig in general, I miss it! The crowd, the people, the music, and especially the technical difficulties when playing or setting up! This night had it all and a flood of memories just came back like an old man reliving the golden years!

I was on the way to the gig, and saw a post from Fight The Sun, Melbourne alternative rock band who were meant to be opening up tonight and these guys are unreal at what they do! It’s been ages since I’ve seen them play and I was really looking forward to seeing them again, “We are no longer playing due to illness” SHATTERED! That line is starting to come up a lot more these days and I see it as a good and a bad thing. It’s bad because people don’t want to be around illness/sickness and given the current social climate anyone with a cough becomes a leper *insert Monty Python quote*. The good side is that bands are actually giving themselves some self-care and not pushing themselves or risking a shitshow on a member’s health! Either way, they were sorely missed.

Hitting the Bendigo Hotel at 8 pm when doors open there is a steady flow of people, for about 30mins and then that’s pretty much it, the venue hits about a third to half full and doesn’t grow anymore. It’s a bit of a shame given that there are some pretty damn good bands playing tonight and each band put on a good set, even given their troubles, but more on that point later.

First is Cicadastone, a bluesy, southern rock-sounding band with a singer that dances around the Layne Staley vocal style. Compared to the other bands on the bill tonight, what Cicadastone lacked in speed or technicality, they owned the night on feel and groove, with an absolute tight set, showing off some new material from an upcoming release, and apparently, the singer’s son was playing the drums, which he nailed. It was a great way to start off the night, warming up the crowd for the things to come.

Coming up next was Live Like Animals. Starting a little late from a slower setup, understandably after hearing their set, I'm guessing with a complete electro/synth backing track that lasted the entire set, that could take a bit of setting up. 3 Piece Alt Metal band from Syndey with no bassist… it's always the bassist missing… These guys played an incredibly tight set for having a backing track go the entire time, they must really know their cues. They stepped up the energy to another level and got some more crowd involvement. With taking a little time to set up, you would think that sets would be adjusted to make sure that everything still runs smooth, around about the time they should have finished. The background music was put on, over the band, who was playing through inner ear monitors and had no idea that something else was being played over them. I didn’t hear or see any interaction between the sound guy and the stage but there was no communication, and that sort of thing can kill a mood in an instant. It was a shame that it ended a great set that way.

Now what happened next, I have no idea but I’ve seen Ironstone set up before, they are a younger modern metal or “djenty” as the kids call it, style band but they are yet again, a completely digital band, running through guitar pedal boards. They have always been quick to set up and tonight it looked like everything that could go wrong, went wrong. The band hit the stage and start setting up. Singer, Drummer, and Parent are setting up drums, guitarists and bassist are doing their thing. One guitarist finished setting up, “Cool, play something for me” sound comes through FOH and Foldback, thumbs up, Move on! The other guitarist finishes just after, the same thing DONE! The drummer lets the sound guy know about a backing track that is to be played. No Sound. Sound guy comes up, changes some leads, goes back, nope nothing. Let the back and forth begin, once this is complete, Bassist has no sound. Lead change. Seems to fix it. RIGHT! Band gives a test run; one guitar isn’t coming through anymore. “What?” changes a few settings, starts up, guitar back on, THE OTHER GUITARIST STOPS COMING THROUGH NOW! “What the hell is going on!?” Mind you this is now 20mins into Ironstones set and tension is rising. What looks like a complete rewire of the stage, Ironstone who was meant to come on at 10:10 pm starts at 10:45 pm. Ironstone came on for a 4 song set, they hit their 3rd and said “We’ve been Ironstone, Cheers!” but that was then met with “One more song guys!” from one of the members of the headlining act, good on them for being understanding. The shortened set was tight, but the mix wasn’t great on them, they didn’t really get to break into a rhythm and find their spot sonically. The long changeover and muck around killed the flow of the night, unfortunately. I’m not 100% sure on what happened here but whether leads or something wasn’t connected properly but one thing would work and then something else would stop, it was insane to watch.

Ironstone, jump off the stage, thanking/apologizing to the headliners as they change places. Bad Moon Born start setting up and yet again, some leads were working and others weren’t, it didn’t look like it was just an Ironstone problem. Mics were changed, a bit more movement from the sound guy, definitely earning his money tonight, but given a reasonable changeover, lights are dimmed and Bad Moon Born shows us the reason they are headliners for tonight! They come on with looks that fit the name, all in black, jackets on, the singer is even wearing aviator sunnies, how much more rockstar can you get? After their first song, they thank the bands beforehand then get everyone to give it up for the sound guy, every band should make that a thing, it’s always appreciated by them, and they always try and make sure every show runs smooth. The crowd instantly get into it, mind you, it still never grew than about half, which is a shame cause these guys were good! They played covers of Billie Eilish's Bad Guy and NSYNC’s It’s Gotta Be Me, which the whole place was singing and dancing along to. The Bad Guy cover was great, it's already a darker track and they made it even darker again, and then who doesn’t love a good NSYNC cover song, it’s pretty clear they had fun working on them and everyone listening to it had a blast. The set ended with a feature from the singer of Future Static for duet, which everyone got into and was singing back.

Overall, with the mishaps of technical difficulties and the ups and downs of shortened sets, all bands played great sets. These things happen and it should be reminded to anyone that reads this who is in a band, make sure you thank the sound guy, they put up with so much shit, and having friends who do live sound cop it or just go un-thanked, you don’t know how much it's appreciated and the band is remembered by them when it does happen. Now we just need more people to remember that live music is coming back and start attending local shows, but one thing at a time I guess.

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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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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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Warning Order – With Me … With You

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