An interesting fact about Wednesday is that this character from The Addams Family named after the weekday was apparently called it by her father because “Wednesday’s child is full of woe”; upsettingly upon entrance into Fowler’s Live on this “Hump Day” evening, it appeared as though the daughter of Charles Addams had used her evil abilities to diminish Adelaide’s spirit with only a minuscule audience present for the opening act. But as former NBA star Paul Pierce once said: “The game isn’t over till the clock says zero” – truthfully, there was not one aspect about this show that represented zero at all, so the show must go on.
To say that local quartet Lead Worm were ecstatic about opening this event would be a vast understatement; it was made abundantly clear by frontman / guitarist Michael Van on numerous occasions. However, from this writer’s point of view, this was the most spirited the outfit actually became in their 40 minutes in the stage light. Admittedly, there was the reduced stage size acting as a challenging obstacle, that was more than apparent and influential on the four-piece’s abilities – although honestly, the band members seemed to have little interaction with each other or their audience during song performance. Respectably, they do transport themselves into their own musical universe that lands somewhere around the post-grunge label and it is an accomplished amalgamation. All-in-all though, their delivery presents itself as slightly insipid. The influence of Californian band Oleander was enjoyably evident on songs ‘Forgive Me’ and ‘Wasted’; furthermore, Lead Worm did have the responsibility of warming up the crowd which had now grown exponentially and to that degree, they achieved a satisfactory result. Nevertheless, maybe with more bigger supporting roles and some touring opportunities, the quartet could grow to a formidable group. Continue reading →
Words Will Oakeshott. Photos Alex Kwong Photography.
If this event could be surmised in one phrase, the legend of Black Flag, part-time actor, writer, spoken word genius and prodigy of anything else which interests him, Henry Rollins captured this show’s essence with his quote: “Life is weird, great and dangerous”.
Adelaide quartet Dirty Pagans had the honour of opening the event and were hellbent on crafting a weird and wonderful statement about their art. In terms of the historical undulated road modern rock’n’roll has undergone for decades since its inception, this four-piece are on a mission to explore the majority of this genre’s pathway. Elements of southern rock, classical rock, thrash metal, hair metal, stoner rock and sludge rock were all combined to create a rather original sound. Featuring songs from their Dirty Pagans EP and recently released full-length VOLUME 1, Dirty Pagans left an imposing impression on the modest but very intrigued audience. It was slightly abnormal but on that same note, awe-inspiring also.
Maybe it’s just the pathway this writer has been fortunate enough to undertake but ’90s punk is an amazing facet I can include as part of my résumé and upbringing. There is an energy, life-force and rejuvenation which this art-form carries especially within this era of time. For those lucky enough to have experienced this period, they would hopefully also have an instant injection of adrenaline with such a prolific sound and lifestyle. Then again, since Australia has one of the most remarkable surf and skate cultures in the world, essentially this headline band’s touring schedule of our fine nation was more of an enjoyable necessity than an occupation, for all involved.
Local goth-punk trio Dead Joe were called upon to open this event and unfortunately the detriment of an early time-slot equated to only 15 observers being present for their performance. It’s of no surprise or mystery that Dead Joe really like The Misfits, excessively as a matter of fact; this adoration blatantly shines throughout the three-piece’s tracks. Showcasing songs from their LP Carry Me Home which is basically a collection of all songs the band have released in their history; the show was polite but not particularly inspiring (understandably due to low crowd numbers). The addition of Mikey Valentine as a new member is a nice touch though. Continue reading →
For the last day of Autumn, even the calling of the warm glow emitted from my home away from home, Fowler’s Live, had this scribe feeling somewhat at unease with what may transpire. A show of this nature on a Sunday night has an unfortunate tendency in Adelaide to be met with an undersized audience. It would seem however that Adelaide had no apprehension toward this event, an excellent attendance was in tow, which added further exhiliration to the already intoxicated atmosphere.
Ear plugs were a necessity for opening local act Last Days Of Kali, but in an outstanding nature. The trio who radiate a deafening wall of post-rock / post-metal / instrumental sound easily transfixed the early comers to the venue and lost themselves in their awe-inspiring talent. Barely muttering a word throughout their performance, more impressively barely needing to, their music did the talking at an excellently damaging nature. If indie doom is up your alley, this three-piece are arguably the best in the nation at it, especially with their intricate keyboard addition which arouses another dimension to their soundscape.