Live Review

Radfest

Rosemount Hotel

Wednesday 24 September

One Last Thing, Priority One, Burning Fiction, At The Space Jam, Being Beta, Ben Elliott, Blonde Spit Acoustic Duo.

Review by Kimberly Greygoose

Last Wednesday night the Rosemount Hotel and Breaking Punk played host to Radfest. It was a great night with several of Perth’s best punk bands coming together to put on a show for the crowd.

Members of Blindspot had stepped in at a few days’ notice to replace the opening act who had fallen ill. Under the name ‘Blonde Spit’ they entertained the crowd side-by-side with acoustic guitars, capturing the playful spirit and high energy that their full band usually brings to the stage.

Punters streamed in from the cold to watch folk-punk dude Ben Elliott take to the stage. Armed with his guitar and a set list of songs filled with down-to-earth, honest lyrics, proved that he was just what the crowd at the Rosemount needed to warm up for the night.

Young bloods, At The Space Jam, definitely got the party started. The energy on stage proved to be contagious as lead singer Andre Georges beckoned the crowd forward and they willingly obliged. It was proof that the fast paced combination of Ska and Punk was infectious as punters were either bopping along or shaking their hips. Not a band to turn away from involving the crowd, they made a request for a fifth member. After pulling their new member to the stage, they armed her with a triangle, positioned her at a microphone and began to play What Are You Doing It For? The crowd relished in the reggae vibes pumping through the speakers and seemed almost upset when their set ended.

Taking a break from supporting Lionizer on their tour, Being Beta were next on the line up. One month on following the release of their second EP Drink Tea, they played through their repertoire of songs, including usual crowd favourites Hoarding My Thoughts, Highs and Lows and Reading In A Rib House. With the perpetually enthusiastic Andy Storey switching between his guitar and synth,and bopping around the stage like the energizer bunny, it’s easy to see why these guys have become favourites in the Perth punk scene.

With many more years of experience under their belt than their fellow Radfest bands, Burning Fiction put on a good show for what was now a very pumped up crowd. The audience bopped and head-banged along, and those who have been fans of the band for a few years sang along to their bouncy progressive-rock-tinged punk tunes.

Returning to the stage for the second time after taking some time off to record some new demos, Priority One are a tidal wave of punch-drunk guitars, pumping bass and striking drumming. Despite having taken advantage of the Rosemount’s $12 steak and $10 jugs, they managed to hold it together and play an engaging set. Taking a break from playing their own tunes during the set to cover an old Gyroscope song, Confidence In Confidentiality, much to the pleasure of many punters in the crowd. Priority One ended their set with the track Zombie, fittingly named as the song would not have been out of place if used for the closing credits of a badass horror film.

Concluding the night for those who stuck it out late on were headliners One Last Thing. Still relatively new to the Perth music, the five piece band are already making a name for themselves, and it’s easy to see why. Playing tracks from their recent debut EP Back Stories, a lovely assembly of get-up-and-go pop punk, One Last Thing proved that it was worth sticking it out late, as the set was fun, lively and the perfect end to the night.

Paper Plains - Anaestalgia

Album Review

Originally an acoustic duo, Paper Plains were keen to lay down an album as soon as they had found the missing half of their band. Some of the tracks that feature on the album appeared on a previous split EP, but they’d rather you heard the songs complete with drums and bass on their debut album Anaestalgia. They recorded the album with Tom Ware (Grim Fandango).

The album covers a broad range of themes including loss of love and loss of life, as well as reflections on mainstream social values and global injustices.  Song writing is shared between band members, with many of the songs written by co-frontman Patrick Gengler. Although only 26 years of age, it seems that he has experienced unusually high levels of heartache and sorrow in recent years. A less structured, free-flowing style allows words to be squeezed into verses to produce elaborated emotional outputs.   

A jangly ringing riff introduces the album and suddenly the whole band is in full swing, with Gengler’s youthful voice sharing his receptiveness to being overwhelmed by memories of past emotions, in Letting Go. He breaks into full vocal flight in the chorus, and if you’ve ever felt anything in your life you’ll have to try hard to stop yourself from singing along. It’s an appropriate starting point for an album that is all about looking back.

Third track, Painting the Town, stands alone as happy song on the album. Gengler is like an excited child as he reminisces about the best of times with the best of friends at the Poison City Weekender (Melbourne). Guitar riffs at the start give a sense of adventure, and bright and happy chords continue throughout the song. Playful lyrics and choral sections encapsulate the party spirit and give the listener a sense that this song is about far more than just a bender.

There’s a lot of emotion to be felt in Alright, For Now. Drum beats suitable for the Edinburgh Tattoo and a gleeful tinny riff contrast the angst-fueled lyrics. Gengler’s usually acute voice breaks up with emotion in lines like “I don’t know if I’ve got the strength.” As if exhausted from the intense emotional output, the vocals fade and some pro shredding by Matt Rickwood rounds out the track.

Rickwood’s grainier and more aggressive voice adds depth and contrast in tracks like Mixtapes and Chivalry, Lion King and Tusk.  Drummer Dave Meyrick makes full use of the drumkit to accent and complement each moment of ebb, flow and climax in the album and Jess Allen’s bass (highly regarded by other members of the Perth music community) slips seamlessly into the myriad of guitar tones.

Anaestalgia encompasses a series of very personal and yet relatable tales of the human experience: heartbreak and disappointment and a determination to carry on. Listen to expose yourself to them feels, bro. 

  

Live Review
Generation Why?
Rosemount Hotel
Thursday 11 September

Kettle Fingers, Crash Rat, Renegade Girl and Sludge Bucket
 

A group of South West bands made the trek to Perth to put on a show in celebration of their new split EP, Generation Why. Rrocklobster of Perth and Chris Webster Photography went to check it out!
 
A miniature crowd gathered at the front, ready for the show to begin with Sludge Bucket. They captured everyone’s attention with their booming thunderous doom-inspiring bass-driven songs and gravelly T-Rex vocals. It was a suitable introduction to the evening’s revelry.
 
After a short drinking break, Renegade Girl drew the audience back inside. Beautiful strong vocals resonated through the room, backed with overwhelming amounts of loud drumming and thunderstorm bass. The hoard of patrons that had gathered cheered and whistled in appreciation and the band was grateful for the positive vibes. “Thanks for coming down and supporting Perth’s live music scene.”
 
Crash Rat took over the venue in a whirlwind of teased hair, bandanas, denim vests and spandex. Did someone say time machine? Crunchy guitars and group vocals kept the audience on edge. Vocalist O.D. Winters was keen for the crowd to sing along with Wasteland. “Everyone in here needs to join in otherwise it’s gonna sound pretty bleak.” A generous portion of the crowd knew the song and band members got the revellers riled up with some overhead clapping. By now a decent crowd had filled the room and people were sufficiently lubricated and amped just in time for the last song, Fiftyonefifty. Everyone was right into it! TAZ gave the drums a good bashing, the audience chanted along with their three-way group vocals, and chainsaw guitar soared over everything. 10/10 would head-bang.

Kettle Fingers appeared on the stage: three girls and a beardy drummer. Echoes of audience members commenting 'ahh they’re so cute,' ricocheted through the room. Vocalist Elle Driver exacerbated the band’s charm with stage banter like “I’m taking off my shoes because shoes are oppressive. Just kidding, I love shoes!” Within seconds the crowd was bopping along to their melodiously bouncy guitars and bass and poppy drums, and the delightful vocal harmonies created by the three girls. Members of the earlier bands had stuck around to enjoy the effervescent tunes and photographers snapped happily into the night. Movers and shakers near the stage proved that they had come to party and that Kettle Fingers had reigned in the evening.

Review by Rrocklobster of Perth. Photos by Chris Webster Photography.

Filthy Apes – Colour Café

Single Review

 


You don’t have to be a lobster to notice that animals are leaving the jungles and forests by the dozen to play in Perth bands. Some of them cleverly disguise themselves as humans, but one band leaves no doubt about the fact that they are apes, with their ape faces and their on-stage banana throwing antics.

Filthy Apes recently spent some time in captivity, recording their single Colour Café. Hang on. Are they really apes? Wait… no … they can’t be. Only humans could play this well!


Two guitars set the scene: one providing a bluesy twang and the other backing it up with flock of fuzziness. It’s a skillful contrast that works spectacularly to capture attention throughout the track.

Grunge fans will appreciate the air-guitar-inducing shredding that kicks in just before the three-minute-mark. It certainly wowed the lobster, who could have listened to just that part again and again all night. All the stunning guitar work is complemented with Grohl-esque vocals, singing lyrics wound tightly in metaphors.

Listen to this track while eating a banana. Be careful not to overdose on potassium and guitar tones.

Review by Rrocklobster of Perth

Breaking Punk Episode II

Live Review
Breaking Punk Episode II
Ya-Ya's Bar Friday 29 August

Scalphunter, Blindspot, 88 to Yesterday, Ascending Fall, House Arrest, Trip Hazard and The Rude Boys

After the success of the first Breaking Punk show back in June, bass player Leigh Stearne gathered up a diverse range of local punk bands to put on Breaking Punk Episode II. Sub-genres included variations of Ska, Pop Punk and Hardcore Punk and the event was well attended by a swarm of punk fans and members of local bands. Scalphunter were major draw cards, pulling in a huge crowd at the end of the night.

Trip Hazard and The Rude Boys entertained the early drinkers with their own brand of heavyweight ska. Their three-way vocal harmonies and bouncy bass were the perfect introduction to the night. Pub-folk were content and there were a few boppers and hip-swingers down the front.

The audience was loving House Arrest’s bright, clean, happy chords and jolly vocal harmonies. Three energetic skankers on the floor turned into a whole hoard by the end of the set. Michelle Claire injected pizzazz into the band, playing earworm horn lines and bopping to the jaunty sounds created by other band members. With his hair tamed in a top-knot, Pat Decline dutifully plucked at the bass. A crowd member commented on how relaxed he looked.
 

An introduction of thunderous drumming caught everyone’s attention just as Ascending Fall launched into full flight. The nostalgic feel of skate-punk-style vocals and lots of tempo changes kept the growing crowd happy. Vocalist Brennan Devellerez’s stage banter included discussions about various bodily fluids, which the lobster won’t repeat.

Peppy pop punks 88 to Yesterday lifted the crowd’s spirits with their fast chord changes and fresh vocals. Vocalist Topher Wilkes, in his trademark French bulldog jumper, got his groove on for Too Far To Fly and the punters fed off his energy, drawing forward to mosh. Stearne, host of the evening and the band’s bass player, bounced around sporting a Smith Street Band beanie.

Blindspot maintained the jovial vibes with their melodious tunes sung in Aussie accents. Catchy choruses with playful lyrics kept the mood light and cheerful. Ska Wars was a clear favourite, sparking the crowd into an irrepressible fervor. Ben Elliott and Pat Decline from House Arrest jumped on stage to help out with the lyrics. Team effort!

Ready to experience something from the heavier end of the punk spectrum, people filled the bar. It was so packed that a bartender had to remove the tables and chairs. Scalphunter was an aural sensation! There was excited passionate screaming and crunchy guitars, and band members thrashed around on the little stage. Guitarist Alex Cotton ran through the crowd and jumped on top of the booth seating at the back, crash landing onto a table and knocking a wall lamp on the way down (oops). He continued to play flawlessly through the botched stunt. Legendary.

Review by Rrocklobster of Perth. Photos by Chris Webster Photography.



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