Head Like A Hole at Valhalla – 25th Anniversary Tour

Head Like A Hole Valhalla Wellington Poster 25th Anniversary Tour
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Head Like A Hole playing the album 13

w/ Hiboux

Saturday 20 May 2017

Valhalla, Wellington

A friend of mine has a story from when his band opened for Head Like A Hole many years ago. During HLAH’s set a naked man run onstage and stage dived off. He got consumed by the mosh pit, only to emerge from the midst of it right and the end of the night when the crowd had dispersed.

Imagine being part of that mosh pit. It’s hot. You’re enjoying the music and bouncing between other sweaty bodies. Suddenly, out of nowhere, an undressed man with flailing penis appears out of nowhere, blocking out the light and landing square on top of you.

My friend is now a priest, and although it isn’t very priestly to condone tales of rock n roll like this, he loves sharing it. He grins from ear to ear as he tells his story, giggling about wild times.

Of course Head Like A Hole have been known to perform naked and caked with mud in the past as well. Tonight was my first time seeing the band, and they were performing their début album 13 (released in 1992 – the year I was born!). All bets were off, and I braced myself for some madness.

Hiboux opening for Head Like A Hole at ValhallaHiboux

I’ve been following the Instagram account of local post-rock lads Hiboux, and it is clear that they’ve worked hard recently. With a début album now under their belts, the band have filmed videos, written more music, and are planning an upcoming trans-Tasman tour. They sounded great when I saw them open for Alcest last month, and tonight was just as great.

The lighting guy was having fun trying to destroy my photos, employing far too much red light and working the for machine overtime – two ingredients that serve to foil my camera’s ability. I had fun though, climbing up on the side of a speaker rig to find interesting angles.

If you haven’t heard Hiboux yet, I recommend checking them out. Their hypnotic instrumental tunes cast a spell over Valhalla. It was perhaps a bit sedate at first considering that they were opening for legendary wild men, but later on the set the distortion pedals came to the foray and the headbanging material unleashed. Although their music is well-crafted and exact, fantastic energy brims beneath, making the explosive sections of the songs all the more dynamic.

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Head Like A Hole Valhalla WellingtonHead Like A Hole

Head Like A Hole disbanded when I was eight, meaning that although I’m know of them, they have never been at the forefront of music I listen to. They’ve had their share of play on The Rock radio station, and one of Dad’s friends used to bring HLAH CDs to our family BBQs [related story], so I am familiar with a few hits, but couldn’t say I know any of their albums well. Knowing that they had planned on playing début album 13 on this tour, I’ve listened to it leading up to the show.

13 is snotty punk music: fast, aggressive and fun. It captures the band at the start of their career – slightly naïve, yet with obvious potential. The recordings sound dated –  funky alt-rock Faith No More worship with bright popping drums and wiry guitars – but despite this the album remains a fan favourite.

By comparison, tonight when the band played the 25 year-old songs they sounded full and punchy. Not only did they sound great, but they had brilliant presence. We didn’t see the naked mud men of yesteryear, but the wildness was still evident.

Head Like A Hole Valhalla Wellington

Like their contemporaries Shihad, they’ve taken rock music, added an alternative edge, and perfected the delivery. Frontman Booga Beezley – dressed in black leather and hair dripping with sweat – swung his mic stand around and told self-deprecating stories.

“This song [Penut] was written after a night of dangerous drinking.” He revealed, half proud of himself, half cautioning us. “I woke up at Nigel’s mum’s house, having shit myself. Shit was everywhere: on the walls, on the toilet. There was shit on me. Nights like that define who you are as a person, which is how we manage to write such great songs.”

Crowd Surfing at Head Like A Hole

Crowd Surfing at Head Like A Hole

Valhalla was as full as I’ve seen it in a year or two, sold out and filled with aging rock fans wanting that taste of their teenage years. The pit up the front was in full swing and a handful of punters tried their hands at stage diving throughout the night – with varying degrees of success.

“We’ve come to that point in the night where we are going to play some radio friendly pop hits”Head Like A Hole Wellington Set List Beezly laughed when the band approached the second half of the set, “who wants to hear some Ed Sheeran?”

Despite never having listened to Head Like A Hole much, I was pleased to learn that I actually knew many of the songs from the second half of the set. “A Crying Shame” was great fun, with a signature trumpet hook played by the woman who had given me my wristband at the start of the night. “Hootenanny” earned cries of excitement, with everyone chanting along to the chorus. A cover of Springsteen’s “I’m On Fire” brought the mood down, before the band switched it up a gear to turn it into a rowdy frenzy.

The band members live distributed throughout the North Island these days, but a Wellington show will always be a homecoming gig. I’m glad that I finally managed to see Head Like A Hole live, but I bet that the old fans were even happier than me.

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All words and photos by Joseph James

Album Review: Nihiling – Batteri

Nihiling Batteri cover
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Are you the type of person who believes in the album as a whole? Do you listen to music on shuffle and make playlists from the singles, or listen to entire albums as the artists intended it?

The reason I ask is because for the past few weeks I’ve been listening to Nihiling’s new album Batteri out of sequence. When I downloaded the album the tracks arranged in alphabetical order, and not according to designated track listing, and I feel that somehow I’ve ruined the listening experience.

Not that the experience is bad by any means. But I’ve had to reflect on whether listening to the correct track ordering enhances the album listening experience, or if the tracks need be good enough to stand on their own.


I was taken by “Cellardoor”, the first track I listened to. For first impressions, it certainly had me intrigued. It begins with clicking noises (someone playing the spoons?), and drawn out cello notes. As this progresses the music grows more complex, with multiple poly rhythms that don’t fit work in well together. Despite this, it works. I found myself thinking back to Biffy Clyro’s “Living Is A Problem…”. seeing as both tracks are odd, but undeniably technically proficient.

The real first track of the album, “Ottersong” commences with a minimalist beat and singing that reminds me of Bedouin Soundclash’s Jay Malinowski. Slowly other elements come into the foray – toms and tambourines, more singers, weird glitches. Everyone has their chance to shine, with no shortage of talent fond.The guitars are especially great later in the piece , transitioning from effect laden underwater sounds to searing solos.

But like I said, there is no shortage of talent here. As biased as I am, I find the drums outstanding throughout the album – Rhythmically hypnotizing and dynamically diverse. Not to mention the singing. I’m a sucker for good vocal harmonies and Batteri offers this in spades.


But if you want my recommendation for the first track to start on, try “Power Rangers”. THIS. TRACK. RULES. Honestly, even if my review isn’t going to sell you on the album, at least take the time to listen to this one song. I’ve embedded it in the review here for convenience. The song has two  sublime elements: groove and harmonies. Just give it a listen. Please.


That’s another thing that threw me – the singing is incredible. .Not only was I listening to this album with the songs in the wrong order, but I went in with incorrect assumptions. The press release called it post-rock, but the best songs don’t fit within this description.

I’d class Batteri as eclectic math-rock. As a general rule, the post-rock genre lacks singing. Whereas Nihiling give us layered vocal harmonies to die for. Odd indie Glitches and effects. You can call it post-rock if you must, because I can’t think of any accurate genre classification.

Upon listening to the band’s earlier releases I can understand the post-rock label better. But the band have evolved and embarked into new territory with Batteri. The first half of the album offers experimental prog-rock, and the latter half gives us the post-rock that was advertised.

“Rope” lurks into trip-hop territory. I’ll give the band kudos for atmospherics. Despite the simplicity of it, there is an off-vibe permeating the track, slowly becoming more unhinged as it progresses. The messiness worsens when a chaotic programmed synth à la The Who’s “Baba O’Riley” comes into play towards the end of the song.

“Idiot” goes heavier, with doomy sludge metal that loses intensity half way through, only to be replaced by a snare drum tattoo and less saturated guitar tones.

I highly recommend that you give Batteri a listen. If you do, you’ll hear brilliant musicianship, interesting experimental sounds, great groove, mathy dynamics and vocal harmonies to die for. The first half of the album stands stronger than the reserved post-rock of the second half, but don’t let that stop you checking out this stunning release.

 


Nihiling’s fourth album Batteri came out on Kapitän Platte on May 5, 2017.

Nihiling links:

Joseph James

EP Review: Moon Gravity – Antarctica

Moon Gravity Antarctica
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It’s late afternoon, before a long weekend. I’ve spent most of my work day switching between Idle Thumbs podcasts and the Rage Against the Machine discography, deciding to listen to both from the start.

Antarctica, a three track EP by Moon Gravity is the perfect antithesis to that. 20 plus minutes of music spread across three tracks, predominantly comprised of drones and soundscapes.
The modulated bass and multi-tracked, almost chant-like vocals on “Nightfall” provides a psychedelic vibe. Repeated bass motifs with a constant rhythm fill in the role normally taken by drums, pushing the song forward at a slow, thoughtful feeling pace.

Track 2, “Snowstorm starts with delayed guitar over some repeated drones and builds from there. Motifs are explored, they mutate and are built on, either with different instruments or a new textural element. “Snowstorm is evocative of a faraway landscape, like the one pictured on the album artwork. One could easily picture this music being put over time-lapse footage of Aurora Australis or Borealis and being a perfect fit.

The reverberate vocals provide nice additional elements missing from much post-rock music, particularly when used with restraint as they have been here. “Snowstorm evolves over its twelve-minute length, the drones make way for drum machines as backing for the guitar motif. The electronic drums feels jarring when first introduced, but quickly feels like an expected part of the toolkit when the bass guitar becomes more prevalent in the mix.

The staples of this genre are all here; plenty of reverb and delay on clean guitars, a really rich and clear bass tone and solid playing. “Purpling” is an example of all of those elements put together quite nicely.

Overall, Antarctica is a solid EP which doesn’t overstay its welcome. The lack of acoustic drums and sparingly used vocals make for an interesting post-rock release that for $3USD there is no reason not to check it out.


Moon Gravity links:

Bandcamp link for Antarctica: https://silbermedia.bandcamp.com/album/antarctica

Facebook: https://www.facebook.com/moongravitymusic/

Youtube: https://www.youtube.com/channel/UCPDNEHSaXYMnAquLVdVgN9w


This review was originally posted by Murray Stace at his site Relative Silence

Album Review: Defend The Rhino – Static Breeze

Defend The Rhino Static Breeze Album Art
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Despite the very pop-punk sounding name, Edmonton’s Defend The Rhino is a solo cinematic instrumental project from singer-songwriter / composer / audio engineer Nathaniel Sutton. With a CV like that, Sutton sounds more than qualified to release an album.

Said album, entitled Static Breeze, is actually the second Defend The Rhino release, featuring ten short tracks that would all fit comfortably within the context of a film.

The album has a somber start ,with soothing waves of soft pads and heartfelt violins, broken up with lingering single piano notes. The second track progresses to using chords on the piano instead of singular notes, and drums add a welcome element.

There are some great elements in said track, “Sound The Alarm”, that are hard to pick up on unless you pay close attention. For example, the bass line at the start is adds awesome feel, but is hidden deep in the mix. Towards the end we hear some brilliant tinkling xylophone that should really stand out, but is again lost and ends up as a minor detail. This is among my favourites on the album because the drum beat and piano ostinato add such energy and liveliness to this song .

The bass notes on “Fade To Dusk” are well captured. I can visualise the thick, dense strings vibrating each time we hear it played. It is here that we are introduced to a ghostly coo that Sutton employs in a few songs – an odd mournful wailing effect that makes the song sound ominous.

Most of these tracks a short and direct, unlike a lot of instrumental music I listen to. They tend to keep the same theme throughout without delineating far from the key melody or beat. The drums especially make the songs appear straightforward, with the same simple beat dominating many tracks. I can tell that they aren’t programmed – there are little giveaways like rapping on the rims in “Dim Lights” and the snare drags in “Fallen Leaf” – but they feel rigid enough that I can tell that the person behind the kit would feel more at home playing another instrument.

“Fallen Leaf” features a funky electric organ tune reminiscent of Stevie Wonder’s “Superstition”, and “Running In The Dark” just screams David Bowie’s “Heroes”. The latter is the only track on the album with vocals. Hoarse and almost whispered, the singing mirrors Bowie’s delivery of holding back until the chorus, creating suspense as we wait for the crescendo.

This is first and foremost a cinematic piano record. Beautiful evocative, it provokes my imagination into conjuring up all kinds of scenes to fit the music. Sutton includes a variety of instruments and effects to colour in the sounds, making for a varied listen. Static Breeze would be the perfect study album, with pleasant sounds in the background that could help you focus and lift your mood. And of course, it would work brilliantly soundtracking a film, seeing as it is so cinematic in nature.


Static Breeze is due out April 7th through Mint 400 Records,

Defend The Rhino links:

Website: www.nathanielsutton.com
Facebook: www.facebook.com/defendtherhino
Twitter: www.twitter.com/defendtherhino
Instagram: www.instagram.com/defendtherhino

 

Album Review: Dan Caine – Transitions

Dan Caine Transitions Album Cover
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Some mean bluesy guitar soloing sets a relaxed mood for Dan Caine’s latest effort, his new solo record Transitions, out on Fluttery Records.

The soaring solos on opening track “Peripeteia” rise above some picking and steel guitar that will call to your inner redneck. An odd combo of three guitar styles that all work together nicely. Just as well it does work, because there is little else at play here throughout the album, other than some light percussion. In my experience, most solo post-rock acts play all the elements of a full band using the magic of technology. Caine has chosen instead to focus on his key instrument, and to be honest the music doesn’t suffer for the lack of bass, drums and keys, but rather is enhanced by the simplicity.

Hailey Rose, Caine’s band mate from Lunar Sol, provides some lush vocal harmonies on “Aka’Aka” (Laughter) and “Wolf’s Moon”. I like that she sings in Hawaiian, rather than English. Not only does it make the singing more exotic, but it also reminds me of Te Reo Māori, the language spoken by the indigenous peoples here in New Zealand [Here’s an example of the Māori language for those interested – “Kawea Tātou Ki Ngā Hiwi” by Kerretta]. Rose has a lovely voice, with some ephemeral effects and harmonies making her voice sound simply gorgeous. In fact, for Wolf’s Moon” she doesn’t even sing lyrics, but uses her voice as an instrument, adding stunning harmonies by cooing and wailing.

“A New Chapter” is my favourite track on this album. It sounds laid back and cheerful, the soundtrack for relaxing in the tropics. The album info Caine sent me uses the term “blissful peace” to describe the track. I could think of no more apt a description.

Transitions is a short, sweet sample of Caine’s work, with seven tracks lasting 32 minutes. It is an atmospheric guitar album, and truth be told, Caine’s guitar abilities are fantastic. By using different techniques layered atop each other he constructs some brilliant moody tracks that will have you reaching for your air guitar in no time.


Dan Caine Links:

Bandcamp: https://dan-caine.bandcamp.com/album/transitions

Website: http://dancainemusic.wixsite.com/music

Facebook: https://www.facebook.com/dancainemusic/

Twitter: https://twitter.com/dancainemusic

Soundcloud: https://soundcloud.com/dan-caine

Youtube: https://www.youtube.com/channel/UCxQ7TsRkbZYYvnmaKWueRrg

Label: http://www.flutteryrecords.com/

Lunar Sol (Side project with Hailey Rose): http://www.lunarsolband.com/

Joseph James