Blog — Page 9 of 275

Napalm Death

September 08, 2023 

Factory Theatre

Sydney, Australia

In the year 2023, the world had experienced its fair share of upheavals and changes. Yet, for one glorious night at Sydney’s Factory Theatre, time seemed to stand still as the pioneers of grindcore, Napalm Death, took the stage to unleash a relentless barrage of sonic fury. It was an event that transcended generations and reaffirmed the enduring power of extreme music.

As the venue filled with a diverse crowd, it was evident that Napalm Death's legacy stretched far beyond their beginnings in the '80s. Fans ranging from leather-clad punks to bespectacled metalheads and curious newcomers all gathered, unified by a shared anticipation for the sonic chaos about to be unleashed.

Last time I witnessed Napalm Death incarnate live must have been in the 1990s when they were a five piece band, so I was eager to see if they were still able to deliver the sonic thunderstorm I had grown to love them for more than a quarter of a century later. 

Turns out I should have not been worried as not unlike a lightning bolt from the abyss, Napalm Death exploded onto the stage. Barney Greenway, still an unstoppable force, unleashed his guttural growls with the same ferocity and gripping dedication that defined the band's earliest days.

The setlist was a testament to Napalm Death's enduring relevance. Classics like "Scum" and "Suffer the Children" sent shockwaves through the crowd, but the band also drew from their more recent material, showing they were far from resting on their laurels. Songs like "Cesspits" and "How the Years Condemn" displayed a modern edge while maintaining the unrelenting intensity that has defined Napalm Death unique melange of grindcore, crust punk, death metal and blast beats for decades.

The stage presence of the band was a sight to behold. Shane Embury's bass lines rumbled like an earthquake, Danny Herrera's drumming was a whirlwind of precision, and the guitar assault of John Cooke delivered punishing riffs and discordant harmonies. The mosh pit was a swirling vortex of chaos, yet it was evident that there was a sense of community among the fans, who looked out for each other amidst the controlled mayhem.

What made this performance truly remarkable was Napalm Death's unyielding dedication to their message. Between songs, Greenway addressed the audience with a fierce, thought-provoking intensity, speaking on issues ranging from social injustice to environmental destruction. It was a reminder that this band had always been about more than just music; they were a conduit for dissent and a rallying cry for change.

As the final notes of "You Suffer" rang out, Napalm Death left the stage, leaving a stunned and exhilarated audience in their wake. The night was a potent reminder that in a world constantly in flux, some things remain constant. Napalm Death, with their unwavering commitment to their craft and their message, continue to be a force of nature in the world of extreme music. Their performance in 2023 was not just a show; it was a declaration of sonic revolution and a testament to the enduring power of rage and resistance.

The fact that the title of the tour is a nod to the Dutch straight edge band Lärm, i.e. “Campaign for Musical Destruction”, only adds to the appeal.

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photos by T

While some sixty-thousand metalheads were flooding Los Angeles for Metallica this Friday evening, there was a crowd of headbangers occupying The Glass House 40 miles away. Melvins and Boris have just begun their trek across North America for their Twins of Evil tour with support from Mr. Phylzzz. Each band is playing career highlight albums with Melvins performing their third album, Bullhead, which had the band starting to find their groove, and Boris, who took their name from the same Melvins record, is playing Heavy Rocks. Uh, not the one released last year... or the one released in 2011, but the first of the trilogy originally released back in 2002. Over 20 years later the album is finally getting a wider release with its first ever vinyl pressing as well as hitting streaming services for the first time recently.

The openers, Mr. Phylzzz, very quickly left an impression from the moment they walked out. I didn't know what to expect. I'd been completely unaware of this band until this tour. I didn't even know "Phylzzz" was pronounced "flies." I'd been calling them "Mister Fils" up until tonight. The frontman, Clinton Jacob, walked out looking like Donald Sutherland in Invasion of the Body Snatchers. When bantering with the crowd, he had a small, high-pitched voice, as if he were a fly. He was backed by drummer, Danny Sein. Together, the duo produced an explosive sound. Sometimes it was heavy. Sometimes it was fast. It was always aggressive. They were like if The Blood Brothers tried to be The Locust with just two members.

Next up were the mighty Melvins. The band is currently celebrating 40 years. Unfortunately, the longest-running member next to Buzz had to sit this one out. Not long before the band was about to head out for the tour, longtime drummer, Dale Crover, had to drop out to undergo emergency spinal surgery. Melvins decided to push on, dedicating the tour to Crover. Filling in is Murder City Devils' Coady Willis, who played with The Melvins when he and his Big Business band partner, Jared Warren, were asked to join the band in 2006.

While Melvins are playing through Bullhead, the band is trying to keep the setlist somewhat surprising. Rather than playing the album front-to-back, like most commonly done when the artist plays a full album, they're sprinkling in the tracks out-of-order throughout the night while they run through a few other songs from their early discography. With the exception of a track from 2006's (A) Senile Animal, Melvins kept it to the 90s, with "Night Goat" and "Honey Bucket" from Houdini and "Revolve" from Stoner Witch. Bassist, Steven McDonald, clamored across the stage looking like Jesus, as he delivered delicious deep and sludgy bass tones. It's weird to think that this guy produced The Format's, Dog Problems -- a power-pop masterpiece.  Meanwhile, Buzz is across the stage losing himself in his riffs with his iconic hair billowing in the air. When the crowd wasn't headbanging, they were starting circle pits for the faster tracks like "Zodiac."  The band closed their set with Osborne holding down the stage by himself as he played through "Boris." After 40 years of performing, Buzz's voice sounds as strong as ever.

Boris took to the stage to close out the show. Boris have more records than one can count on all their appendages, but rather than focus on their storied career, the band opted to play all of their 2002 release, Heavy Rocks. Unlike Melvins, they did play the album's newly re-released track order, which now includes the track, "Dronevil." After 20 years, the band has had time to get better and improve their sound, and it showed during their performance. I can't speak for how those songs sounded live back then, but the 20 years of experience shined through those old songs. A live version could easily replace the studio recordings. The sound was heavier and more full. The only downside to their set was the more sparse audience. It was clear that many had showed up for Melvins, with many leaving before Boris took the stage. Boris even played a cover of Melvins' "Boris" as a set closer with drummer Atsuo delivering a grimy exaggerated vocal performance. That's a compliment by the way.

The entire lineup for this tour is great. Fans of noisy drone metal would be fools to miss it. You can catch them in major cities across America through until mid-October. Check below for dates and a gallery of photos from the show.

It’s been a while since we’ve shared a playlist here at Scene Point Blank.
 
This time around, I’ve compiled 13 songs that are on records we’ve reviewed, records that showed up in the mail, or stuff we covered in some other way.
 
If you like what you hear, search out the artists and give ‘em some support. And, yes, I included some of our links below too. Just because.

https://www.scenepointblank.com/reviews/the-ergs/time-and-season-ep/
https://www.scenepointblank.com/news/records/2021/01/25/spb-exclusive-modern-cynics-auditory-postcards/
https://www.scenepointblank.com/reviews/hurry-up/dismal-nitch/
https://www.scenepointblank.com/reviews/naked-raygun/over-overlords/ 
https://www.scenepointblank.com/reviews/off/free-lsd/ 
https://www.scenepointblank.com/news/records/2020/06/04/spb-exclusive-holler-house-and-busey-split-ep-stream/
https://www.scenepointblank.com/reviews/raging-nathans/still-spitting-blood/
https://www.scenepointblank.com/reviews/la-armada/anti-colonial-vol-2/
https://www.scenepointblank.com/reviews/tim-barry/spring-hill/
https://www.scenepointblank.com/features/interviews/terry-hammer/

The Yeah Yeah Yeahs
Hordern Pavilion
Sydney, Australia
24 July 2023

Formed in New York City in 2000, the trio known as Yeah Yeah Yeahs has consistently pushed boundaries with their unique blend of indie rock, post-punk, and art-punk influences. 

Comprising the enigmatic and charismatic frontwoman Karen O, flanked by guitarist Nick Zinner, and the powerhouse that forms the driving backbone, i.e. drummer Brian Chase, the Yeah Yeah Yeahs have carved a path of innovation and creativity and thereby inhabit comfortably their own niche, breaking stereotypes and challenging traditional gender norms in the male-dominated rock industry.

In a live context, showcasing their raw energy and captivating stage presence, Karen O commanded Hordern Pavilion’s stage from the moment she steps into the red hued spotlight. Her dynamic and unpredictable stage presence had the audience enthralled, as she effortlessly transitioned from her signature powerful vocals to soulful whispers and moans, taking us on an emotional rollercoaster throughout the night.

The band's chemistry on stage was undeniable. Guitarist Nick Zinner's frenetic riffs and drummer Brian Chase's thunderous beats provided the perfect backdrop to Karen O's magnetic performance. 

Their synergy as a trio was evident via their unapologetic expression signifying that they were enjoying every moment of the show as much as the crowd of the nearly sold out show on Monday night, following their much heralded incarnation on the main stage of the Splendour in the Grass festival.

The setlist was a well-balanced mix of the band's iconic hits and tracks from their latest album, with some welcome deep cuts from the early days peppered in, keeping both long-time fans and newcomers engaged throughout the night. 

The production was a visual feast, with striking lighting designs, Karen O’s elaborate costumes / make-up and mesmerizing visuals adding another layer of theatricality and intensity to the performance. 

However, the band's focus remained on the music and their connection with the audience, making it an intimate and immersive experience despite the size of the venue.

Henry Rollins
State Theatre
Sydney, Australia
28 June 2023

Spoken word performances prove to be a powerful platform for artists to speak on various social issues through their own identities, especially when it encompasses stand-up comedy, introspective accounts of experiences and self-deprecating stories about the respective protagonist’s own shortcomings, especially when it comes to a renaissance man like Henry Rollins who has since the mid-1980s consistently honed how he channels his alchemy in captivating audiences for a whole evening by himself. 

While I usually make a point of checking in with the chief whenever the opportunity presents itself during travels, it has been over seven years since I had the chance to indulge in Rollins’ unwavering anger fuelled, idiosyncratic, earnest and engaging chatter.

The fact that the man keeps himself busy all year round with a relentless schedule of work that over the decades has branched out into a myriad of media realms paired a sheer insatiable and infectious curiosity and the fact that he uses every opportunity to explore the less travelled regions of this earthround as a solitary traveller, make his spoken word performances never not a meaningful event.
The tour motto, i.e. “Good To See You”, could have not been chosen more appropriately as it proved to be applicable both ways for the artist and this night’s audience, whose frenetic welcome only seemed to charge Henry’s dynamo even further.

The initiated would appreciate how Rollins’ experiences and stages of his career have made him not merely an artful storyteller but a more compassionate man with a wide horizon whose wit cuts both ways. 

Having seen him incarnate solo over the decades, it was gratifying to see how he cleverly  spins his matter-of-factly yarns and arranges his anecdotes and often insightfully vulnerable musings on the need to be in a manner that not merely connects overarching themes but conveys so much more than mere attitude and opinion in between the lines, thereby making even the most entrenched of his middle-aged audiences susceptible to embracing the notion that painting with a broad brush might be convenient but does little more than perpetrate stereotypes.

Summa summarum, experiencing Henry Rollins and the energizing buzz in the wake of his seamlessly intertwined narratives in the wild is always a night well spent that not merely makes for what feels an intimate experience despite a backdrop of a crowd of 2,000 but feels like a welcome impulse to live life more eventfully and become a better version of oneself.