by Rufus Onfire
It can be a tough state of affairs at the moment trying to stake a claim in the Australian music scene.
From the reality sausage factory spitting out artists that come and go to the nostalgia acts which still seem to fill a pub or club when they roll into town, not to mention those who have headed abroad to stake their claim, where do those on the fringes then take their place and have their music heard?
In the case of Perth band The Autumn Isles you stick to what you know best being melodic pop and add some folkie sounds to the mix to spice up an already decent dish.
2011’s cracking album Kaleidoscopes was indie pop bliss (and a fave album of that year for yours truly), so has the wait been worth it for the follow up 3 years down the track?
Going by the opener and title track this album starts off offering up more of the same from its predecessor and sets the tempo nicely, also being well supported by the 2 singles of sorts lifted from the album so far in Waking Dreams and Harvest In The Night, which benefits from a deft touch of psychedelia being added to the mix.
Lyrically lead singer Alex Arpino is in reflective mode, thinking of his late father who passed away between albums and from which this experience has influenced the words scrawled down to accompany the breezy soundscapes which permeate at time here on the album.
As It Stands has the feel of a next stanza to Mystery To Hide from their debut, the balladry of Living In Boxes is their nod to the recent folk revival while the rhythm section Brian Maloney and Russell Loasby on Stairs Leading To Wolves offer up the magical glue that binds the track together front and centre.
The opportunity also presents itself for the 6 piece combo to stretch out on my favourite album track Hurricanes, each member providing their own delightful contribution to this rollicking and rolling track, led off by a driving Loasby drum beat, overlaid by some flowing Arpino and Tenille Frichot keys action spliced with jangling guitars featuring lead axeman Daniel Silvestri which has the potential to be a show highpoint when played live.
Add in closer At The Fate Of The Rolling River which rounds things out superbly as a loving nod to those who offered up so much while here for the ride and won’t be forgotten via their departure and you as the listener are left wanting more.
Fans of the Autumn Isles previous works won’t be disappointed here, there’s enough nods to their past to keep them happy, but throw in generous new dollops of creative influences and sounds and while it may not be apparent on the first listen, on closer inspection this album represents another great step forward for the band and one that is worthy of a wider audience, especially when the end game of music is fun, something this record and band continue to deliver.
Review by Dan Stone. Photos by Kate Wehl.
Daniel Merriweather, 6 August, 2014, Howler, Brunswick
By a fortunate (for me, unfortunate for others) series of events I got the late call to review Daniel Merriweather’s one-off Melbourne show at Howler in Brunswick. Merriweather isn’t my usual gig fare; there’s no loud guitars, no sweaty dudes in black tees and he certainly isn’t the kind of singer that is trying to tear the crowd a new one in every song. I’d heard maybe one or two songs over the years, but know that this Melbourne born soul/R’n’B singer has a great voice, a lot of respect and a devoted following.
Howler is a big room and this gig was sold out well in advance. What more could you ask for a homecoming show? Not being a big fan I went in with no expectations. Merriweather’s band – Charlie Raux (drums/vocals), Lewis Moody (keys/Hammond), Pat Moevasa (bass) and Isaac Moran (guitars) – take the stage shortly followed by the man himself to a loud cheer. I don’t know if it’s nerves or what, but the ability of the band is clear as Merriweather seems to forget the lyrics of the first track one verse in. Cue Hammond organ solo by Moody. It is excused at the end of the song as never having played these songs before….except at rehearsal.
Thankfully the nerves seem to disappear as the band hit us with a couple of new tracks, “Breathe” and “Indivisible”. Intertwined with tunes from Merriweather’s small, but exceptional, back catalogue. The silky voiced singer starts hitting his straps vocally, and gets his swagger back; roaming the stage, as he performs his hit “Red”, and it’s the first time that I notice the crowd really start to get involved. I don’t think there was a person not singing along.
Merriweather closes the set with a couple more new tracks including the song “Love” which he seems to get lost in a memory as he tells the crowd a little about it. This is a great track that is obviously close to his heart. The final song of the set “Orbit” could be the next single. It is catchy and gets stuck in your head from the first chorus. Exactly what you want in a song
After leaving the stage the crowd clearly wants more and it’s the loudest I’ve heard them all night as they are encouraged to “make some noise” if they want another song. The band return to the stage for a two song encore featuring his other hit, “Change” and the Mark Ronson re-imagining of The Smiths track “Stop Me”. The crowd getting right into both tracks and it’s one massive singalong. After a nervous start it seems clear leaving the venue that I am probably the only one who noticed or remembered the forgotten lyrics in the first song and Merriweather certainly made up for it and I leave seeing why so many people rave about his voice, and his songwriting. I can’t wait to hear the album once it drops.
Review By: Dan Stone
Photography By: Kate Wehl
Review by Dayne Applebee. Photos by Kate Wehl.
Aimee Francis, 31 July, 2014, The Esplanade Hotel, St Kilda
It had been around 12 months since I had last seen Aimee Francis with a full band at the Espy. So with a killer new line up and a good crowd building early in the night at the Front Bar, I was pretty pumped to see what the songstress was going to bring to the table this time around.
Straight off the bat Miss Francis shows off her songwriting prowess. Tunes like “Don’t wanna know” with its catchy hooks and flawless lead guitar laid down by the amazingly slick Joe Laf has everyone at the front bar nodding their heads in approval. Laf is the ultimate lead guitarist, his style; his unique sound and his seemingly effortless shredding would make any band stoked to have him on board.
Listening to this tight sounding unit, you would be mistaken for thinking these guys (and gal) had been playing together for years. But it helps when your rhythm section is coming the way of the John “JC” Caputo and Dan Stone on drums and bass respectively. These two highly sought after lads have gelled perfectly to form the solid back bone of this extremely entertaining group.
Aimee’s amazing vocals rip through each track like “Loser’s Game” and “Jetplane” with strength and true emotion the audience can see. Her song matter is obviously close to heart and the punters can feel it when she performs. The latter being an absolute pearler of a tune. You cannot not love this song. Perfectly put together and is guaranteed to stick in your head for the next few days. While “Loser’s Game” sees Francis, with a cheeky grin on her face, ditch her guitar on stage for a drum, belting out both a punchy beat and striking vocals over this stellar ditty.
Aimee and the lads finish up the set with the killer track “Shoot Me Down”. This little beauty really shows off Aimee’s dynamic voice. And with a splash of Led Zeppelin mixed in for good measure what’s not to like? This set finisher I feel embodies what an Aimee Francis gig is all about. Energetic fun & emotional. It had been too long between drinks but well worth the wait to once again see a full band performance from this remarkably talented artist. Go check her out.
Aimee Francis is currently making her way along the east coast on a solo, acoustic tour. Check out the dates and hit up a show in a town near you!
Review By: Dayne Applebee
Photography By: Kate Wehl
Review by Dean Forte.
Brewtality, 2 August, 2014, Tote Hotel & Bendigo Hotel, Collingwood.
From being mellowed out at the bliss of Child, Dead City Ruins took to the stage like the 80’s style metal gods that they may or may not be and blitzed the crowd into a frenzy. With King Of The North’s Danny Leo filling in (slaying) in place of drummer Andy Alkemade who broke his ankle in a “high-fiving accident”, the Melbourne five-piece dominated the stage. Jake Wiffen has some mighty powerful lungs, and he prowls the stage shirtless like I’m sure Tom Cruise wishes he could have in Rock of Ages, and with Tommy Teabag and Sean Blanchard in close company to keep the hair metal in full flight, it’s powerful performance that left nothing in the tank.
Making the short trek down Johnston Street to the Bendigo Hotel, Frankenbok are midway through blitzing the stage in typically boisterous fashion. Dan McDougall makes his customary wisecracks in between delivering screaming vocals, whilst Nathan ‘Yeti’ Amanieks does his best exorcism impression, walking upside down on the band room ceiling during set closer “FuckenKuntz” with the help of the audience.
Back at the Tote, Geelong’s The Dukes of Deliciousness are another surprise packet, delivering a supersonically sexy performance that commanded attention. Vocalist and bassist Mike Findlay oozes charisma, and has the front row in the palm of his hands whilst the baby faced Billy Watts shreds guitar like he’s been doing it for 30 years. These guys know certainly know how to rock, and they do their fair share of partying while they’re at it.
Witchgrinder are summoning all sorts of evilness down on the Tote main stage, dishing out their industrial metal to their adoring fans. Travis Everett’s demonic growls are on full display, and with blue and white lights flashing as the metal rages around them, it’s easy to see why these Melbourne lads are on the up and up in the metal scene. Their upcoming tour of Japan shows that it’s not just local fans that are lapping them up.
It was then left to Melbourne’s Barbarion to bring the fire and brimstone (literally) to the Tote to bring in their headline slot in style. Clad in their custom Viking attire and bringing all things Norse to the stage, this newly turned sextet confirmed their position as one of the best hard rock acts in Melbourne. Myles Tauchert has now taken over vocal duties full time in the absence of Frankie Gionfriddo, and with his warlord bandmates in close company, their performance easily portrays their status as headliners. How any of the band members don’t suffer any James Hetfield type burns from their impressive pyro show is beyond me, but so long as they know what they are doing, the audience are more than happy to bear witness, especially considering the near freezing conditions outside. Their performance of new song “Warrior” was one of the highlights of the set.
One common theme of the day was the level of camaraderie shown between both bands and fans of the respective acts on the bill. Whether it be the stoner bliss of Child, to the industrial racket of Witchgrinder, the fans were there to appreciate each act for what they’re worth. The swilling of beer acted as the social lubricant, without any of the unsociable behaviour that can come with the music of different genres coming together in one place. A resounding success from Desert Highways, Heavy Magazine and The Good Brew Co that will no doubt see its place as a recurring event in the Melbourne music calendar.
Review by Dean Forte.
Brewtality, 2 August, 2014, Tote Hotel & Bendigo Hotel, Collingwood.
When it’s colder than a witches tit in Melbourne, there’s a soothing tonic that brings people together none better than the promise of loud music and gratuitous consumption of beer. Well that’s exactly what Desert Highways have come up with; a festival of Australia’s rowdiest bands across two of Collingwood’s most notorious venues, along with the promotion of Australian craft beer. So as the quotation famously states, the event was built, and the people came. They came to the extent that Brewtality was sold out across the two sites, a great testament to the Melbourne rock scene.
Despite having to get used to seeing daylight through the weathered Tote windows (and thus the equally weathered Tote floor), it didn’t stop the bands from rocking and the beer from flowing. Melbourne local legends Don Fernando got the crowd going early with their no nonsense stoner rock thumping on the Tote mainstage, and with Todd Trevor from Warped filling in on guitars, it was a slick performance that set the tone for the rest of the evening.
Upstairs Sexy/Heavy are getting their game on, with a set mixing heavy sludge in with layered grooves. Being their last show for a while with drummer Shannon Isiah, they were no doubt keen to go out on a high, with the song “Testibreasticles” being a set highlight.
Perth’s self styled blood-rockers Chainsaw Hookers were next up to tear the Tote band room a new one, as the four piece laid waste with a set of punishing rhythms with bikie-like attitude. Look away at your own peril, you don’t want vocalist Andrew Rowcroft bearing down on you to whip your pansy arse into shape.
Back upstairs, the comically diverse Grindhouse brought their brand of garage punk rock to life with an energetic set. With vocalist Mick Simpson channelling Fucked Up’s Pink Eyes with his clothing optional approach, guitarist Rick Audsley’s double denim, drummer Liam Cuffe’s bowling gear, and Adrian Cummins on bass in a cowboy outfit that would have made James Young proud, they commanded the upstairs stage with raucous hilarity.
Melbourne three-piece Drifter were next to grace the upstairs stage at the Tote, with their DIY punk rock attitude taking literal affect after their bass player Troy Dawson got kicked out of the venue! Luckily, with all of a couple of minutes notice, Alex Hayes from The Hidden Venture joined Dan and Dave on stage to complete what was an admirable set in the circumstances. Closing out with a cover of the Dwarves’ “Drug Store”, the audience appreciated the set that almost didn’t happen.
The self-proclaimed “Pussiest band on the line-up” Melbourne rock icons Bugdust actually rocked the socks off the Tote mainstage. Vocalist Adam Cole’s mesmerising beard is one thing, but their performance was a thing to behold. Having been around the traps for years, it’s really no surprise.
The best thing about festivals isn’t getting stupidly drunk, or seeing the awesome set of the bands that you love. It’s hearing whispers about bands that you haven’t seen, from new friends you’ve just made. I can thank my lucky stars that I bore witness to the highlight of the festival, and Melbourne’s own Child. Their slow burning stoner blues melted faces and stunned onlookers, as their set twisted and winded its way at a comfortable speed that was equally dazzling as it was humble. Standing before the band and having their layers of fuzz wash over you is really the only way to experience a group of this calibre. This spawn of the devil has no Godly place on this earth. Pencil Child in as a band to take off in the next 12 months. Mark their next show in your town in your calendar.
Stay tuned for Part 2 later today!
SWILO @ Arena
Words & Photo’s: Matt Young
Up and coming Hip Hop artist SWILO held his official Mix Tape B.A.M.N launch at Brisbane’s iconic music venue The Arena last night. We were there to check it out.
Local boy doing good, SWILO is an artist who is starting to make waves in the Australian Hip Hop scene. Bringing you the perfect balance of old and new, SWILO’s musical roots draw on classic hip hop, while his delivery of smooth and clever lyrics reflect voices of here and now. It is this combination that give SWILO his unique sound.
With a line-up of other artists such as Gill Bates, DJ DZYR, YUNG YANNY and the beautiful CAPRICE on the bill, the sizeable crowd in attendance was treated to a great night of beats & rhymes. The talent on display showed that Brisbane’s Hip Hop scene is truly alive & well.
The star of the night though was undoubtedly headliner SWILO. Showcasing a selection of tracks from his new Mix Tape B.A.M.N album, as well as a couple of older songs, SWILO performed a high energy set which displayed his undeniable talent. Southside, Walah, Round Round, Someone That I Know, How Many Times & Stand Up all get a run tonight.
Keep an eye & an ear out for SWILO, his star is on the rise. We may well be witnessing the birth of this country’s next big thing.
More info: swilobamn.com & facebook/swilo
Tonight on Get Shot Radio … foreign hordes … Beth Hart, The Kinks, Bob Dylan, Peter Green, The Beatles, Eric Clapton, Rick Price, Bessie Smith … and locals Cass Eager and Toni Childs.
What do we have here ?
One American who lives in Australia and one Australian who lives in the USA … what a joke that makes out of the argument as to who qualifies to be “Australian” … so what difference does it make in the new global world of international travel and migration across borders and continents.
Who really cares who lives where ?
Find out tonight on Get Shot Radio !
Review and photos by Dan Stone.
King Parrot with Desecrator and Horsehunter, July 25, 2014, Ding Dong Lounge Melbourne.
To say I was a little nervous walking into this gig would be an understatement. I had never been to a King Parrot gig before, but have read the stories. Circle pits, the wall of death and pretty much anything else that you can throw at each and somehow stay alive. Tonight it seems wasn’t much different.
Things started peacefully. I arrived just in time to catch Horsehunter. Definitely fitting into the sludge rock/metal genre, think lots of fuzz and lots of long drawn out songs. Not something I personally get into a lot but the half full Ding Dong Lounge crowd really ate it up.
Next up was the mighty Desecrator. Riley Strong (vocals/guitar) and Scottie Anning (guitars) rip the crowd into frenzy with their monstrous riffs, backed by an impenetrable rhythm featuring Jared Roberts on drums. It’s a quickfire set that surprising for live shows in Melbourne actually started early and the crowd loved every second. Definitely highlights were “Balancing on a Blade” off the recent Down to Hell EP and “Little Jimmy Black” and the set closer “Destroying Gods Work”.
Before King Parrot even hit the stage I can sense the atmosphere in the room intensifying. There is not much room to move and it feels like the temperature has increased ten fold. It doesn’t take long for the chaos to begin as they pull out the favourite “Bozo” early in the set. Vocalist Matt “Youngy” Young spends almost as much time perched above the crowd as he does on stage and in between getting whipped by the hair of those around me I find myself dodging headstocks and guitarist Andrew “Squiz” Squires as he tumbles off the side of the stage. It’s not only the band that gets into the crowd surfing, but the crowd themselves. In fact I don’t think there was ever a time when someone wasn’t sprawled onto top of the crowd, except maybe that one time Youngy ventured into the crowd, separated them for the wall of death and yelled at the to do their worst. Amongst that and numerous circle pits the band themselves continue to pull out crowd favourite after crowd favourite.
With new drummer Todd Hansen on skins, Wayne “Slatts” Slattery on bass and Mr White (guitars) rounding out this thrash metal quintet it is no surprise to see why these guys were voted as one of the best bands at SXSW earlier this year. They are a tight unit but it is all about the show. Youngy and Slatts have the crowd eating out of their hands as empty glasses fly one way and water bottles go the other. The stage is a mix of beer, water and sweat and it’s no surprise that Youngy almost finds himself down the stairs at the side of stage just as quick as he was thrown back onto it from one adventure into the crowd.
With no encore the band leave the stage from their last Melbourne show before heading to the US. For them I hope it’s a while before we see them again, but damn do I want to go back for some more of that…just maybe next time without camera in hand!
Review By: Dan Stone
Photography By: Dan Stone
Story & Photos by John Snelson
Get Shot Radio goes to air every Monday night at 8-00pm, streaming live around the world from the TripleH 100.1 FM studio, Hornsby & Ku-ring-gai Radio.
The Magazine offers artists coverage of their music and performances through articles, reviews, photographs, announcements and interesting profiles.
If YOU have an interesting story and would like some coverage in Get Shot Magazine or even perhaps the chance to come into the Get Shot Radio studio at TripleH FM 100.1 to have your message and talent featured on the airwaves all around the world, you can contact John Snelson, Editor of Get Shot Magazine right here.
In order to keep up our standards of course, you need to be comfortable in company with the following great artists who have appeared live in the studio over the last few months ….
- Aimee Francis
- Baby Animals (Dave Leslie)
- Chase The Sun (Jon and Ryan)
- Chosen Ones (Matt and Ian)
- Glenn Cardier
- JHD Revival Band (John Hardaker and Adam Lean)
- Kevin Borich
- Mechanical Black (Luis Rojas and Riley Tipton Pulsawat-Perry)
- Phil Emmanuel
- Rick Price
- Shanghai (Riley Tipton Pulsawat-Perry, Luis Rojas and Chantel Bann
- Soundproofed (Lo Marshall and Leon Gower}
- Steve Balbi (Mi-Sex, Noiseworks)
- Tony Cini (Blues Explosion, Blues on the Water & Ginhouse)
- Wellmaker (Andrew and Trevor)
- Wolf Mail
If you can hold your head up with these great Australian musicians and entertainers, get shot now … get on Get Shot Radio !