EP Review: His Master’s Voice The Devils Blues- Woman

I first heard of His Master’s Voice when Mathias Hallberg reviewed Into Orbit’s latest album release show. I had been in the South Island at a sporting event, and came back to Mathias raving about this bluesy band from Auckland.

Needing to make up for missing the show, I made a point of seeing the band next time they visited Wellington, and Mathias was 100% right. They’re damn good.

The band sent me Woman yesterday. I’ve been playing it on repeat non-stop since.

His Master's Voice - The Devils Blues. Family of Strangers Tour. Valhalla, Wellington

Image: Will Not Fade

Take the blues and revive them with dosage of danger. Add filthy southern rock riffs. Swirl in a generous serving of Sabbath, Led Zeppelin and Deep Purple. Drop in a few drugs. And then, amidst the swirling haze, you will find you have produced His Master’s Voice.

They play with such a swagger. Whether laying down a doomy groove, or ripping into a fast-paced swing section, the music is saturated with infectious feel.

My personal favourite is first track, “Burning” – a slow burner with a smooth, rolling riff. That is, until frontman Jesse Sorenson cries out “Come the groove!” And that’s exactly what happens. It all kicks in. If the bass line doesn’t get you moving then wait til the tambourines start ashakin’ and the primal drums kick in. And then, just to send you over the edge, we have a guitar solo.

There is no denying how much Black Sabbath have influenced His Master’s Voice’s sound. The title track on this EP reminds me of “Electric Wizard”. Sorenson channels his inner-Ozzy as he wails over a sweetly picked guitar melody. The rest of the band joins in, and the soaring guitars and organs elevate the music to the next level.

The only problem with Woman is the duration. 20 minutes is not enough! But I’ve been playing it on repeat and I can’t see myself tiring of these songs anytime soon. But honestly, what more do you need? Groovy blues with a heavy edge. Music that will possess you to dance. It’s just fantastic.

His Master’s Blues have pulled it off again, and Woman comes with my highest of recommendations.

Image: Will Not Fade

Woman is due out digitally on Bandcamp on 1 October 2017, and will also be available through the usual streaming platforms. The CD will be available at the EP release show at The King’s Arms on October 28th.

His Master’s Voice links:

Facebook: https://www.facebook.com/thedevilsblues
Instagram: https://www.instagram.com/thedevilsbluesnz/
Youtube: https://www.youtube.com/user/thedevilsbluesnz
Bandcamp: www.hismastersvoice.bandcamp.com
Soundcloud: https://soundcloud.com/brando28
Reverbnation: https://www.reverbnation.com/hismastersvoice
Merch: www.thedevilsmerch.com

His Master’s Voice are:

Jesse Sorensen – Vocals and Guitar
Brandon Bott – Bass
Az Burns – Guitar
Renè Harvey – Drums
(Plus Paul Lawrence – Keys on ‘Evil’ and ‘Woman’)

Words and photos by Joseph James

Head Like A Hole at Valhalla – 25th Anniversary Tour

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

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

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.

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

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” 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

Beats, Collab Dreams, and The Hawaiian Shirt Mafia – An interview with Jamal of SWIDT

SWIDT (See What I Did There) is on the rise. A 5 man Hip-Hop collective from Onehunga, Auckland, they enjoyed huge success with their début album ‘SmokeyGotBeatz Presents “SWIDT vs EVERYBODY”’ which was nominated for the “Critic’s Choice Award” and won the “Best Urban/Hip Hop” Album of the year at last year’s VNZMA.

They have just released ‘Close One’, the third instalment in a new 4 Part series focusing on the guys teenage years growing up in Onehunga.

The first instalment, Alfred & Church was produced by Tae Beast of Digi+Phonics (Kendrick Lamar, ScHoolboy Q). At the time of the interview, part 2 “Little Did She Know” was their latest release, a reflection of the trouble they would get up to behind their mothers’ backs.

In my first interview for Will Not Fade, I was lucky enough to have a quick chat with Jamal, a rapper/producer in the group that also includes producer SmokeyGotBeatz, rap duo SPYCC & INF and Boomer-Tha-GOD.

After connecting on how relatable “Little Did She Know” was (and reminiscing on the punishment when we got caught) we talked about SWIDT’s process for choosing a beat and theme for each track.

Jamal: We just sit there and go through each beat, and we only use the beats that everyone likes. Because we like to have a feeling, if one person’s not feeling it for a reason, then we don’t [use it], it’s not the one. Our main process is just getting together and vibing out, and the subject always come from how we’re feeling at the time.

Jayden: It must be so easy for you guys.

Jamal: I think it is, because we’re talking about ourselves, we’re not trying to be something else.

Jayden: You guys came up together right?

Jamal: Yeah, all of us grew up in the same hood. I met these guys later on down the track. These guys have known each other since the age of 4 or 5, and I met them when i was 16, we all went to the same school, all knew the same people. It was a connection that was too easy to not work with, we just banded together so easily. We weren’t even meant to be proper artists, but that’s how everything fell into place, and it just worked really well. We’ve been making music for years, it’s an organic thing that’s happened and we’re riding with it.

Jayden: Does it feel surreal, how fast you guys are blowing up?

Jamal: BRO. Hard out man. I’m still living normally, and I get family and friends coming up to me saying “You’re doing so well” and I’m like “Are we?” it just feels normal, we’re just trying to make music. Because we’ve been putting out music for so long, but we’re doing it as a crew now, and it’s getting a lot more recognition. We always sit back like “Man, this is cool!”

We talk about the 4 part series, and I compare it to drip feeding the mixtape that always comes before the album. He agrees, suggesting that it may be a first in New Zealand rap.

I grew up around music and wanting to do music, and like any budding artist I would dream about people I’d like to work with. So I’m always curious if already established artists feel the same way. The answer is obvious for Jamal: Kendrick Lamar.

Jamal: He’s at the pinnacle of his career right now, to work with him would be an experience.

Jayden: Imagine writing with him, just being in the studio, understanding his process.

Jamal: The way his music works, it’s not normal, it’s an actually well thought out process, there’s a reason why he’s making every song.

We discuss Kendrick’s new album Damn, and it’s ranking against his other albums. Jamal puts Damn in at 2nd, behind Good Kid, M.A.A.D City, which I strongly agree with.

Jamal: I’m a producer, and I put beats first, I’m not that great at understanding lyrics, and when I heard Good Kid, M.A.A.D City, I could listen to it from start to finish and not skip a song. That’s rare in albums these days.

Other dream collaborations were Prince and Andre 3000 (of Outkast). I though Andre 3000 was an interesting choice so I asked him to elaborate.

Jamal: Growing up, we really listened to music in the 2000’s, because we were born in the 90’s, Outkast and Dipset (The Diplomats). And it was cool because Outkast was a duo of rappers, and Dipset had rappers and producers, and we connected with that so well. Even to this day we still look at things the way they would. Like fashion, Dipset had the whole New York swagger, and we have the Hawaiian Shirts.

Remembering that they sometimes refer to themselves as The Hawaiian Shirt Mafia, I asked him about the colourful Pacific Island shirts they are often seen wearing.

Jamal: We’re pacific people, so why not show off pacific visuals to an audience that don’t understand why Islander people wear Hawaiian shirts. They’re mean colours, mean to wear, and I think they popping now. I’ve seen people releasing Hawaiian patterned clothing in popular stores like Hallensteins, and it’s crazy, we didn’t think they would pop, we just wanted to wear them because that was us.

But it’s true, pacific printed clothing is starting to trend again, and I commend him on the timely fashion choice.

SWIDT links:

Website: http://www.swidt.co.nz/

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

Twitter: https://twitter.com/swidtmusic

Youtube: https://www.youtube.com/channel/UCFAaZ0SEDdG7QW9hyE436ZQ

Instagram: https://www.instagram.com/swidtmusic/

Vice feature: https://www.vice.com/en_nz/article/rappers-swidt-are-repping-a-fast-disappearing-suburban-auckland

Live Review and Gallery: Living Colour at the Auckland Powerstation

Living Colour 30th Anniversary Tour

w/ Heavy Metal Ninjas

Powerstation, Auckland

Thursday 11 May 2017

Money or music?

I faced a difficult decision a few years ago

I was a year into my university studies and hadn’t been able to find much work over the Summer break. I was in the process of opening up a student account at the bank for when I’d need the interest-free overdraft for the upcoming year. I had to take 11 weeks off work that year to do the teacher placements as part of my studies and I couldn’t see any way that I could afford to do that.

So of course AJ Maddah announced the lineup for that years Soundwave festival.

It wasn’t the big names that drew me in. Sure, I’d like to see them, but I didn’t see them as major drawcards. It was some of the lesser known bands that I reeeallly wanted to see. You know, the bands written in tiny writing at the bottom of the poster that you have to squint to read. Like my favourite band: Scottish trio Biffy Clyro. Or Arizona act Jimmy Eat World. Or funk rock titans Living Colour.

There was no way I could afford to attend Soundwave, but there were a few sideshows that could have been viable options.I had friends I could stay with in Melbourne. Biffy Clyro played at The Corner Hotel, where I’d seen hardcore legends Terror play a few years beforehand. Living Colour were to open for Alter Bridge at The Forum. Dipping into the $1000 course related costs I was entitled to became veeeeery tempting.

Financial reason won in the end. Sad face emoji. No trip to Melbourne, no seeing awesome bands.

Buuuuut, I have been fortunate enough to see those three bands since. All at the Auckland Powerstation. And tonight, Living Colour proved that they were worth the wait.

Heavy Metal Ninjas

Local quartet Heavy Metal Ninjas came onstage dressed very much like Kora, which isn’t too surprising seeing as the two bands share members. As well as rocking the samurai garb, the two guitarists and bass player all had half face masks that gave off a Kylo Ren vibe. Maybe the drummer didn’t get the memo regarding dress code, choosing to opt for a bogan Jesus look instead.

Their music was sharp technical metal, full of double kick drums, guitar noodling and djenty riffs. They took Steve Vai worship to the next level. I counted 22 strings between the three masked men. As for the drums… well you can never really have enough cymbals can you?

The hard-hitting sci-fi take on instrumental metal delivered blow after pummeling blow, strengthened by the regular inclusion of strong sub bass that made me want to vomit. I’ll give them points for making an impact, and the crowd lapped it up.

Living Colour

Living Colour last visited our shores in 1993. A few people in the audience were rocking t shirts from that tour tonight. I, however, was merely an infant at the time, being born in 1992.

Not that this made a difference. Being one of the younger people in attendance made me feel as if I was in on a special secret.

The band weren’t scared to add a handful of covers to their set; they both opened and closed with a cover, as well as interspersing them throughout the night. Their influences range far and wide: Robert Johnson, Notorious BIG, Junior Murvin, Elvis, The Clash. Both familiar yet new, the songs all worked seamlessly into the set.

Living Colour are well seasoned pros. Their abilities are phenomenal. I don’t say this lightly. They. Can. Play.

The way Corey Glover sung, you wouldn’t know that he has worked those vocal cords hard for over 30 years. Not only is his singing great, but he has such range. He can bark during the thrash numbers. He can scream – you know, rock star style – like in “Hey Jude”. He has speed. I swear that even though I was watching his lips move, my brain couldn’t keep up with how fast he was spitting out words in some songs. And of course, he can do sexy soulful. He wore a paint splattered denim suit with gingham shirt, tie and a feathered hat.

Doug Wimbish was the centre of attention, playing up for the cameras. He may be the newbie in the band, but you’d never pick it. His bass solo was one of the highlights of the night. He played a tune – great in its own right. Then using a looping pedal, he added upon the tune, jamming with himself. His joy was openly visible as he expanded the sound during his solo. He employed various pedals to change his tone – deep, rich bass, higher guitar tones, alien sounds. And if the music wasn’t enough, he started playing with his mouth too. It was a wonder to listen to as he masterfully played his instrument.

Drummer Will Calhoun was just as mesmerising. His two kick drums sported Australian art. The first with a picture of Ayers Rock and a kangaroo, and the second depicting the Aboriginal flag (which looked like a pokéball when cropped into a circle). Situated around him were his many signature drums, cymbals, electronic pads and a large corrugated Hammerax sheet cymbal.

The way he approaches his playing is so outside-the-square that I doubt I’ll ever see another drum solo quite like his. First of all, he’s lightning fast. Living Colour have their thrash metal moments, but I didn’t realise how frenetic a lot of the rest of their works are. And then there’s his experimental side. He discussed it with me when I interviewed him a few weeks back. He takes electric drums and messes with the sound just as a guitarist uses pedals and effects to affect their tone. And on top of all this talent and creativity, he is highly educated in the ways of drumming from cultures worldwide. For me, his drum solo was worth the price of admission alone.

Which leaves Vernon on guitar. The unsung hero. He played the joker, cracking funnies to wind up Corey. He bore the blame when the band made a few mistakes. He referred to himself as the nerd in a band of sexy people. But he is the man responsible for forming Living Colour. And his guitar work is damn amazing. Humbleness is a virtue, but Vernon Reid is more than deserving of an ego.

When you consider the talent, the showmanship, the vibrancy of each of these four men, and realise that Living Colour is more than the sum of its parts, you come to understand that this show is one of those truly amazing nights that surpassed even the wildest expectations. After 30 years, you’d expect them to know how to own a stage. Which they did. The jokes and banter was funny. The music was immersive and compelling. The musicians were genuine. And just to prove it, they all came and met with the fans to take photos and sign merch after the show.

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