Genres

Live Review and Photo Gallery: Caligula’s Horse at Valhalla, Wellington

Caligula's Horse Valhalla Wellington
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Caligula’s Horse

w/ Clæmus and ELIM

Valhalla, Wellington

Wednesday 1 February

Sadly I missed ELIM’s set, but was able to catch the other support act, Clæmus, who proved themselves a great choice to open for Brisbane prog-rockers Caligula’s Horse. Clæmus have a similar progressive sound, and plenty of energy to bring their set to life. It’s amazing how such talented locals keep coming out of the woodwork. Where do they keep hiding? Anyway, now that I’ve discovered them I’ll be sure to attend more gigs that they play.

This was a last-minute show, announced mere weeks before the event. Caligula’s Horse were due to come to NZ for the first time to support Opeth at their gig in Auckland, and seemingly decided to add a Wellington date the night beforehand, much to our pleasure.

The lads in Caligula’s Horse were buzzing to see such a turnout. And it wasn’t bad, but it was hardly packed either. It was however, a case of quality over quantity. Valhalla wasn’t filled to the brim, but the fans who had shown up were diehards, many of whom sang all along to all the words, much to singer Jim Grey’s delight.

I think Caligula’s Horse strike a great balance. They described their own music as “prog-wank”, but I disagree.Sure, the songs are long, and have noodly solos, but they don’t venture into boring territory like some other prog-rock bands. The solos are interesting, the music makes you want to move, and the vocals are on point.

I’m writing this a few days late, having been out-of-town yesterday for the Opeth gig. So with hindsight on my side, I can safely say that it was worth seeing Caligula’s Horse play at Valhalla. OK, it was worth it regardless, but the Valhalla set was far better than the set that they played opening for Opeth in Auckland. This is not to say that the band played badly in Auckland, but there are only so many songs you can fit into a half hour set when you play prog-rock. A band of this calibre deserves more than 30 minutes to show off their talents on stage. This headlining show gave provided us Wellingtonians the opportunity to see Caligula’s Horse let loose at their peak, and not constrained into a supporting slot.

Something I loved was seeing guitarist Sam Vallen’s grandmother positioned just in front of the stage filming her grandson’s band on her smart phone. I wouldn’t usually expect to see that generation at a gig, let alone at a metal bar late on a Wednesday night! It certainly brought a grin to my face to see a grandmother so proud of her grandson.

It was an absolute pleasure watching the band play, drawing from a music new and old. Half way through their set, my mate turned to me and said “I think that this is the best band I’ve seen play at Valhalla!” I thought about it for a minute, and I agree. Caligula’s Horse are a band worth seeing, and I am happy that we saw them play their own unbridled set as well as an opening set for Opeth the following night.

 

Links:

Website: http://caligulashorse.com/

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

Twitter: https://twitter.com/CaligulasHorse

Youtube: https://www.youtube.com/samvallen

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

 

Words and photos by Joseph James

Live Review: Opeth at The Auckland Powerstation

Opeth Sorceress Auckland Poster
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Opeth – Sorceress World Tour

w/ Caligula’s Horse

Powerstation, Auckland

Thursday 2 February 2017

It has been 11 years and 3 studio releases since Opeth last played a show in New Zealand. And from the excitement outside Auckland’s Powerstation, we can definitely assume that they are long overdue.

19:00 The line outside stretched well over 100 meters as we came waltzing up to the gig, prompting a quick detour to Galbraith’s pub across the road for a pint. Once inside we were hit by a strong wave of B.O courtesy of the black t-shirt brigade. High spirits and freshly poured beer in hand helped to focus our remaining senses. We did, however, move outside just in case, meeting up with many well socially lubricated excited fans with tales of sold out shows and the hunt for extra tickets.

20:00 Doors open and the black sea crashes through the gates. Once inside, the merch booth is already pumping out t-shirts. Its only competition is the beer flowing from glass bottles and into plastic cups. One gladly partakes.

Caligula's Horse Valhalla Wellington

Caligula’s Horse: Beckoning the Crowd

Caligula’s Horse

Having seen them just one day prior at Wellington’s Valhalla, I was keen to see what Brisbane Prog-rockers Caligula’s Horse could bring to a larger venue. Playing with a true sense of passion executed with precision, their Brisbane sound translates well to a house packed with Kiwi metal heads. Soaring vocals and blazing yet nuanced dueling guitars showed Caligula’s Horse’s professionalism and judging from the crowd’s reaction they will most certainly be welcomed back to our shores.

Too much of the creature made us lose track of time but the short break after Caligula’s Horse four song set sent us one more time back to the bar rubbing shoulders with the ever-increasing sea of people. I managed to secure a great spot right next to the sound desk ensuring that I would make the most of the acoustics of the venue. And it provided easy access to the bar. Standing in the crowd empty-handed just did not feel right.

Opeth Sorceress World Tour Powerstation Auckland

From Darkness comes Light

Opeth

Opeth walked onto the darkened stage greeted by the deafening cheer of the crowd. Crimson and silver lights flashed. Little dampened the sound of the audience as Opeth ripped into the title track off their latest release, “Sorceress”.

The well-rehearsed set is filled with a mix of old and new continuing with “Ghost of Perdition” – a personal favourite of mine – before moving on with “The Wild Flowers” (also from their latest release). Not a band famous for an overly energetic performance, the set is highlighted with Mikael’s dry humour, often followed by sensible chuckles from the rest of the band and audience alike. A well-balanced sound is at points dressed up with some silky smooth lead guitar tones (Frederik is unmatched for the night).

Opeth Sorceress World Tour Powerstation Auckland

Frederik is ripping it up!

The one low point of the night came when it was time for Mikael to announce their last song for the evening. A large portion of the crowd started to boo but was quickly turned into a cheer when they were told that it was bad form. The set ended as it quite often does with a perfectly performed rendition of the song “Deliverance” from the album of the same name.

All in all a fantastic night was had by all. Our night ended on Auckland’s Queen Street, where we were treated to a show by a 17-year-old male who was taking a joy ride in a forklift that he had stolen. We filmed this young man and sent a video through to stuff which can be viewed here.

Words by Mathias Hallberg.

Photos by Joseph James

Live Review: Alexisonfire at The Powerstation, Auckland

Alexisonfire Powerstation Auckland
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Alexisonfire

w/ Barracks

Powerstation, Auckland

Monday 23 January 2016

You’d think that with the amount of trouble I get into, I’d have learnt by now not to underestimate my ability to get lost in another city. But unfortunately I still find myself in situations like that today, in which I managed to get stranded on an island.

After an exciting day of exploring old army bunkers on Waiheke Island, I found the winding roads too hard to navigate, and managed to narrowly miss the ferry I needed to catch back to Auckland in time for the gig.

Sadly opening act Barracks had long finished their set by the time I got to the Powerstation, and Alexisonfire were already half way through their second song as I entered the venue.

I was kicking myself for showing up so late, but my excitement meant that I was soon caught up in the moment and forgot about the stress of trying to get there earlier. I’d been looking forward to this show for many months, and after an eventful drive up from Wellington I was finally here – albeit slightly late.

Alexisonfire are five piece post-hardcore act from Ontario, Canada. They released four albums between 2002-2009. One point of difference they boast is that they have three singers: George Pettit fronts the band on unclean vocals, Dallas Green sings clean vocals as well as playing guitar and piano, and Wade McNeil provides backing vocals whilst also playing guitar. In 2012 the band disbanded, with each singer going on to front other projects.

The Powerstation was well packed for a Monday night, with a generous turnout to see the newly reformed Canadians back in action. Here was a band that was most relevant a decade ago, but could still attract a decent audience on a work night.

And after seeing them play, I could see why. This was one of the more intense shows I’d been to in a while. The driving drums, high energy riffs and powerful roars all blended together to create a visceral experience.  I’m surprised that the mosh pit wasn’t more wild, between the music, Pettit shouting at us to “Fuck this place up” and McNeil telling us to punch Nazis in the face.

To be honest they could have said just about anything and the crowd would have lapped it up. People even tolerated  Green’s request for us to sing “Happy Birthday” to one of the roadies. In fact, if I remember correctly, he also asked us to sing “Happy Birthday” to his guitarist when City And Colour last played in Wellington as well. In my experience this seldom goes down well when a musician pulls this. But everyone was having a good time. People cheered when the band announced that the venue was a safe and tolerant space. People cheered when they heard that former local act The Bleeders lived near the band in Canada. People cheered when Pettit said he could see us all clearly after having had laser eye surgery.

The band covered a great cross section material, with tracks pulled from all four albums – predominantly 2006’s Crisis – and even the title track from their 2010 Dog’s Blood EP.

It was a dynamic set. The band ripped through popular hits and offered an all-out assault at first, but towards the end of the set they changed it up by introducing meandering instrumental sections and tender sing along moments. Encoring with some songs from the older two albums was met with favour, with many people noticeably running to the front to get closer during their old-time favourites.

Although the band’s punk pedigree was a big draw card, their slow burners and more melodic moments stood out. Green has enjoyed a fine career with his solo side project City and Colour, which is more folk/singer-songwriter styled. His strengths lie in vocal melodies and this was more than evident tonight, with his voice being far louder in the mix than the others. His voice is fantastic, and although he strained at times, his singing sections provided standout singalongs that brought balance to George and Wade’s double teamed shouting.

It was a brilliant gig. Varied, dynamic, and featuring all the expected hits. The band not only played their songs, but they put on a show. Nostalgia for well-written old songs were enough to draw the punters in, and excellent delivery kept them wanting more.

 

Joseph James

Hemispheres – A Free Post-Rock Compilation From A Thousand Arms

Hemispheres A Thousand Arms Volume 1 Post Rock Compilation Album Cover
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Hemispheres

A Thousand Arms have released another great new free post-rock compilation Hemispheres, to follow on from the awesome Open Language compilation released last year.

Open Language was split into two parts, with Side A representing American acts, and Side B featuring international artists.

Hemispheres follows this theme, with Side A representing the Northern Hemisphere, and Side B representing the Southern Hemisphere.

I’m quite excited to see a few New Zealand acts represented on Side B (Kerretta, Sora Shima and Into Orbit). Not a bad selection to showcase our homegrown talent to the rest of the world!

Here’s the track listing:

Side A: Northern Hemisphere

Old Solar – Summer Solstice

RLYR – Slipstream Summer

Au Revoir – Reverie

Eupana – The Night the Stars Fell

The Great Cold – EOS

Malämmar – I

Of the Vine – I’m Morrissey, I’m Dead.

Spurv – Passacaglia (fugler med ord i nebbet)

Sleeping Bear – Emerged

Mountain – Mondo Kane

Glories – Bravo Sierra

Ranges – Kingdom

Caspian – Sad Heart of Mine

Appalaches – Milsai

Dayluta Means Kindness – Young Savagery and General Debauchery

Shy, Low – Anomic

Sad Turtle – Feats Of Strength

Atsuko Chiba – Damonsta Titillates

Side B: Southern Hemisphere

Build and Release – St Helen pt. 2

Meniscus – Overhang

Antorchas – Stalingrado Fosa Comun

Hélices – BrvdxTripp

Kjjjjjjjjj – Grrrrrrrrr

Kerretta – Ossein Trail

Under The Big Bright Yellow Sun – BERTAHAN *Angelic Version (Jeruji Cover)

Mesozoic – The Turtle

El lenguaje como obstáculo – Adonis Minos

Hashshashin – Levitation

Fourteen Nights At Sea – No Capital

Sora Shima – And Behold a Pale Horse

We Set Sail – Forgotten Shores

Kalouv – Da Bravura, Inocência

Into Orbit – Unearthing

Hello Porkins – Melon Felon

blienvesne – Definitivamente ellos no son los dueños del viento

Bear the Mammoth – Molly

CJ and David have once again outdone themselves with this collection. 36 great tracks from all over the world, lovingly chosen and presented in a great wee package.

So head along to https://athousandarms.bandcamp.com/ to download Hemispheres and discover your next favourite new band!

 

Joseph James

Album Review: Emeli Sandé – Long Live The Angels

Emeli Sande Long Live The Angels
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Emeli Sandé – Long Live The Angels

I first became aware of Emeli Sandé when my younger sister sang her hit single “Next To Me” at my grandparent’s 50th wedding anniversary ceremony. I was taken by the power of it, so made it my business to seek out the original artist. Turns out that Sandé was a pretty big deal – beating chart records set by The Beatles and boosting the biggest selling record of 2012. Four years later, Sandé has released her follow up album, Long Live The Angels.

Long Live The Angels is explores Sandé’s identity. Her half-Zambian, half-Scottish heritage, her failed marriage and strained relationships, her aspirations and desires realised since she dropped her medical studies to pursue a music career. Here is someone who reached such great heights with her début album, but lost herself in the process. Long Live The Angels is the story of a powerful singer desperately climbing back up to her former throne.

“Selah” starts the album with a powerful tone. Sandé shows off her gorgeous voice by reducing the instrumentation to a minimum, and instead using the service of a goosebump-inducing choir to add ambiance to her poetic singing. The gospel overtones continue with the uplifting first single “Breathing Underwater” – a euphoric victory cry in ballad form.

I love the production on this album. Everything feels very deliberate. By reducing the amount of instruments in each song, Sandé has more space to let her voice take center stage. Take for example “Sweet Architect”. It’s just piano and vocals, with choral harmonies and organ used to add depth towards the end. But it makes an impact.

In “Happen” we feel Sandé’s despair and loss, until a guitar chimes in – almost squealing – and Sandé answers defiantly. “Hurts” adds urgency with a fast hand-clapped beat and brass section.  Lovely acoustic guitar number “Give Me Something”, however, feels more simple, yet effective.

The album takes a sharp turn half way through, with a more contemporary pop approach. Jay Electronica lays down some rapping for a verse in “Garden”, and the next track “I’d Rather Not” features hip-hop drumming. The two songs don’t fit well within the context of the rest of the album. Compared to the more soulful other songs, these more urban tracks feels forced – with “Garden” in particular clearly manufactured with the intention of becoming a hit. Album closer “Babe” and a few of the bonus tracks come close to straying into this territory as well.

Not to let these urban intrusions derail the album, Sandé saves one of the best tracks for later – the feel good family affair “Tenderly” – a nod to her Zambian heritage. From here on in the mood feels lighter and more carefree. Using her voice to convey emotion and gravitas works, but injecting fun energy into tracks like “Highs and Lows” is simply more enjoyable.

Long Live The Angels feels emotionally raw, covering the entire spectrum from desperation to elation. Sandé uses the album as her phoenix fire, emerging from heartbreak and loss to rise stronger than before. The production is stunning, but not nearly as impressive as her voice.

Simple, effective, and emotional: Long Live The Angels is a defiant statement from a talented singer claiming back her stake in the music industry

Joseph James