Rock

Live Review: King Brothers, Vottones and DHDFD’s at Meow, Wellington

The King Brothers NZ tour poster
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The King Brothers

w/ The DHDFD’s
The Vottones
Unsanitary Napkin
Meow, Wellington
Wednesday 21 February 2018

I gotta say, before you scroll down, be aware that this review and the photos embedded are not safe for work. Seriously. If your boss catches you looking at some of these images during work hours you are going to have to have a very awkward conversation. This is not appropriate workplace content. This cannot be considered decent by any stretch of the imagination. It’s downright depraved. Got it? Well then read on…

Watching Unsanitary Napkin made me regret that I’ve become estranged from the Wellington punk scene. I used to get along to many more punk shows, but the frequency decreased as many of my friends in hardcore bands disbanded. I still crave a taste of that intense abandon now and again, but don’t get my fix nearly as often as I should. Unsanitary Napkin reminded me of when PEARS opened for Strung Out – hyper aggressive and slightly unpredictable. The two guys in the rhythm section sported proper mops – a shaggy one on bass and a Beatles-esque mop on drums. Long hair always has potential to visually enhance a show, and it was great to see the players whip it around as they played. The vocals coming from the girl on guitar came totally unexpected. She was channeling some heavy stuff, because the coarse shrieking didn’t sound natural. It was weird seeing these demons tear through violent songs, only to transform into cutesy “aw shucks” embarrassed kids between songs. I’ll award points for intensity, but then dock a few for the lack of confidence between songs. Fake it til you make it!

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I glanced sideways at my friend Paris. I’d met up with her for dinner last week for a catch up seeing as she had just returned from a big stint abroad. She’d mentioned that she was keen to catch more live music and I invited her to this, the next gig I was planning to go to. Clearly I hadn’t put much thought into that, and now the poor girl was getting irreversibly scarred from this experience I’d recommended.

The Vottones Meow

Next up were Vottones. wow… what a band!

They delighted in vulgarity. Raw, unrepentant filth. I didn’t understand much of what was said, except for lots of “fuck you”s, an MC5 cover, and repeated chanting of the line “I AM DIARRHOEA”. Class, pure class. This is what I’ve come for.

At one point the singer gestured to his chest as he introduced a song. Is he pointing to his heart? Because if so, it’s the wrong side. Moments later I see that, no, not the heart. He is definitely pointing to his nips with both hands. Just to hammer the point home, he walked along to the bassist to jerk his shirt up and put his microphone to a saggy man-breast while he played. What is this, singing titty hour?

The Vottones Meow

Abusing the bassist didn’t stop there. The band riffed the tune to Sabbath‘s “Iron Man” as he removed his own shirt, grabbed the mic and stepped down into the crowd to sing. Although he didn’t stop there. He walked through the audience and out of the venue. It got to the point that he’d walked so far the mic lead had pulled out, but that didn’t stop him from furiously shouting into it. Upon returning to the front of stage, the singer jumped down and gave poor bass-man the wedgie from hell. As in, pulled the stressed undergarments so hard that he practically tore them in two. He then crouched down and put his head through the undie hole and allowed himself to get dragged around by his new noose, continuing to play guitar.

They also invited someone from the audience up onstage for a guitar duel at one point. I think they knew him – he could definitely play guitar well – but he could have been a random for all I know. I’ve been in that situation myself, pulled up onstage to play guitar for a band (although I don’t know how to play guitar).

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People think I’m weird for going to these kinds of things. And they’re 100% correct. But they don’t know what they’re missing out on. Last year I saw a guy dressed as an astronaut duet with puppets. A few months ago I played guitar with the legendary Guitar Wolf. These are the experiences that make you know that you are truly living. Sometimes the path to enlightenment involves watching half-naked foreign men violate all concepts of decency in dimly lit bar on a Wednesday night. I don’t make the rules – that’s just how it is.

The hilarious thing is that after the set the guys from Vottones got changed from their leather rock gear into standard clothing. It’s weird to see a man walking around in baggy jeans and a cute sweater, knowing that just 10 minutes ago he was a vile rock lord. It shatters illusions to see that he was a nice guy in comfy clothes commenting on how good the chicken on the menu tastes.

The DHDFD’s came across as a weird cross between Deja Voodoo and The Datsuns. I know, it doesn’t make sense to me either, but that’s how it was – both terribly dero and stylistic. Scott on vocals was rocking the timeless outfit of only stubbies and a trucker cap, while his bandmates either side of him wore dress shoes. It was snotty punk with odd tangents. “We wrote this one after snorting meth, thinking that it was speed”, Scott explained, before popping a Gollum squat on a table amidst the audience for the next song. I would consider this set mad enough on any given day, but sandwiched between two crazy Japanese acts made it look mild by comparison.

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Next up were the headliners- the almighty King Brothers. During soundcheck the drummer let loose and I found my attention snatched away from the conversation I was having with Paris. Dude has chops! It’s unfair really – borderline cheating. I came here to witness energy, aggression. Wild, untamed insanity. Stage dives and gimmicks. But musical talent? That’s just not punk rock!

The King Brothers Meow

The trio dressed sharply in suits, adding an edge of sophistication to their set. The started off with a bang, with the bass and guitar players climbing onto speakers and jumping off in unison.

The lead vocalist with greying hair dominated as the life of the party. “COME CLOSER!” he shouted, beckoning to us. “COME CLOSER!” As soon as a mass of bodies had collected in front of him he sprang off the stage, the first of countless croudsurfing sessions during the set.

The King Brothers Meow

I’m not sure who was most standout in the King Brothers. The floor adverse singer certainly deserves a mention. A madman front and centre, demanding attention and acting out like a toddler. He shouted and swore, climbing on things and calling for people to put him up and carry him around. But then the other two onstage held it down professionally, with their unceasingly good brand of rock. Usually either the music or the show suffers at expense of the other, but in this case both the madness and the talent impressed.

The most excellent moment was when the vocalist ran into the crowd, snatched a girl’s drink, sculled it down, grabbed a dude nearby for a quick pash, and before you know it was back onstage.

Towards the end the band picked up the drumkit and re-assembled it in the middle of the floor, continuing the set in the centre of the crowd. Our madman friend, shirtless by this point, circled his bandmates above their heads, doing donuts whilst crowdsurfing.

It’s an overused cliché, I know. But dammit I was speechless after that show. I just stood near the bar, mouth slightly ajar, trying to process everything I’d just experienced. Just… just… uh… woah. That was rock and roll. That was a show.

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It’s bittersweet really. I had such a blast. I thoroughly enjoyed every wretched minute. But I am sad knowing that I’ll unlikely ever see a show that good again.

Photographer Connor Crawford recently posted a photo from King Brother’s Auckland show, captioned “King Brothers are the greatest band in the world”. I can 100% see where he comes from. Up until now Iron Maiden and Guitar Wolf both laid claim for my greatest live shows, but I think that I may need to revise this now.

And as for my friend Paris? Well yeah, she may need to get therapy at some point down the track, but she had the time of her life, and was grinning from ear to ear by the end of it.

 

Words and photos by Joseph James

EP Review: The Amblers – The Dustling Man

The Amblers The Dustling Man
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That first guitar lick will tell you everything you need to know about The Amblers, a blues rock duo hailing from Johannesburg.

It’s a lazy, crunchy riff, freshly graduated from the school of Angus Young. But there’s something more to it too, like if AC/DC grew up in the American South.

The blues rock influences are evident too – you have your Rolling Stones, White Stripes, and Royal Blood. Dirty blues rock, y’know? These all tie in to give that dangerous edge. Sure, the riffs and beats follow a formula of sorts, but there are unpredictable elements that only emerge for a bar here or there. If you listen closely you can also hear some nice clean playing underneath the layers of distortion. These parts are heard to pick out, but would certainly be welcome more prominently in the mix.

Fuzzy and raw, the opening track reeks of cool. Resplendent with laid back riffs, rocking solos, sloshy drum cymbals – these guys know what’s up.

The title track is the one to get your toe tapping. Similar to the first song, with a faster riff, and more of a four of the floor stomping feel than the stop start vibe of the first track.

The song “Tired”, on the other hand, is slower and balladesque. The distinctive guitar remains, but organ is dominant during this track. Organ with so much vibrato I picture the underwater scene from Pinnochio. You know when cartoons speak underwater and their voice ripples and undulates as they talk? Another neat addition is crisp piano notes playing on the beat, clinking to accent where you’d sometime expect the drummer to play the bell of the ride cymbal, or a cowbell.

Drummer Jason Hinch shows off most of his chops during the last track, “Keep Me Screamin’”. The verses follow the vocal line – guitar line alternating delivery of Sometimes. The cleaner guitar tone feels welcome after three tracks of intense fuzz, but still retains the same energy. 

For a duo, these guys sure pack a punch. Intimate listening reveals layer upon layer of subtle details that drown under the intense distortion. In fact, I can’t figure out how they would possibly pull these songs off live. Fuzzy, filthy and fleshed out, The Amblers will have you rocking out more than you’d expect possible from just two guys. They’re currently in the studio working on a new album, and that is something that excites me very much.

The Amblers

The Amblers links:

Facebook: http://www.facebook.com/wearetheamblers

Twitter: https://twitter.com/The_Amblers

Deezer: http://www.deezer.com/en/album/45793922

iTunes: http://itunes.apple.com/album/id1267131916?ls=1&app=itunes

 

Joseph James

Buried Treasure: Midnight Legs // Marathon Lungs – Aesthetic Medicine

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This is a guest post from Aaron Edwards, better known as Foofer. Aaron has written about music for many years, getting his break on Postrockstar (where he had the weekly column Foofer Fridays), before writing for Echoes and Dust, and now Arctic Drones. He lives in Boise, Idaho with his wife and two young children, and hosted me (Joseph) when I was travelling through America in late 2017. I emailed him recently asking if he would like to tell us about any underrated bands who deserve more attention, so he graced us with his writing to promote Boise locals Midnight Legs // Marathon Lungs.

Midnight Legs / Marathon Lungs - Aesthetic Medicine

First and foremost I would love to thank Joseph for letting me come out of my cave and show him how it’s done. This past year has been crazy in a lot of ways, and I think everyone knows how easy it can be for good releases to slip under the radar or fall through the cracks. Midnight Legs // Marathon Lungs is definitely one of those. 99 times out of 100, a début album from a new band is ignored. And it only gets worse in states where the population is less than the number of cows (or potatoes).

Being from my neck of the woods (which I don’t get to say very often) means that they were on my radar from day one, basically. I went to their album release show, and they were kind enough to supply me with my own copy of their CD. For weeks it was all I could play in the car. Their bandcamp page says “We’re not sad. We’re contemplative.” and it’s crazy how true it is. I’m not usually in the mood for ‘Aesthetic Medicine’ unless I’m already inside my own head, or have a long car drive ahead of me. I cannot and will not ever claim to fully understand lyrics, but I can say that I probably do more thinking due to their words moreso than their music.

There’s something raw about the music that’s so appealing. There’s a very strong Slint vibe in a lot of their sound, but they also have a tendency for sounding very Post-Rock, with their bass-heavy melodies and twinkly guitars. However they don’t fall prey to post-rock pratfalls, how they do more strumming than tremolo picking. It’s a breath of fresh air for someone who’s listened almost exclusively to post-rock this past year. Imagine if Slint had made something a little more melodic and peppered it with screaming, and you’ll be close to imagining ‘Aesthetic Medicine.’

Considering that this is a début album for a local band that’s all DIY, the production is surprisingly solid. It was recorded, mixed, and mastered locally and it still sounds better than some of the local stuff that was mixed and mastered elsewhere. Even the acoustic guitar sounds how it should, I can even play it on my phone speaker and it won’t suck.

Overall, I would recommend this album to all the sad bois out there. Since this release they’ve added a keyboardist, so you can look forward to another layer of depth, and another mind to add to their potential which adds up to more than the sum of their parts. It’s not exactly within my wheelhouse of music, I didn’t even think to write about them until Joseph asked me if there was anything I’d want to bring to attention from this last year. However they’re from my neighborhood. They make good music. And while it didn’t make it to my year-end list on Arctic drones, I appreciate what they’ve made and I’m excited to hear more of it.

Midnight Legs / Marathon Lungs links:

Bandcamp: https://midnightlegsmarathonlungs.bandcamp.com/

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

Buried Treasure: Mineral – The Power of Failing

Mineral - The Power of Failing
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Mineral

Buried Treasure is a semi-regular feature that explores some hidden musical gems – the rare and forgotten B-sides, covers, hidden tracks, live versions and alternative takes that deserve some recognition.

The further away you get from a pivotal moment in your life, the more important it seems.  Sometimes you don’t recognize the moment as being truly crucial as it is happening.  It usually takes several years for the weight of it to settle in.  It’s this slow passing of time that lends the moment all its lofty nostalgia.  A nostalgia that fills us to the brim with terrible longing and beautiful memory.  Music has a way of pinning all your best and worst memories to a page.  No band did this to me more than Mineral.

The year was 1995.  I was an awkward Sophomore in high school in Illinois.  My mother was shopping for a birthday present for me and was apparently having difficulty in doing so.  Maybe 15-year-old boys are hard to shop for.  She would end up running into a guy in a record store at the mall (a fellow I would eventually become friends with) who told her to buy Diary by Sunny Day Real Estate.  My mom is a conservative Midwest type and it amazes me still that she took the advice of a stranger in buying a record.  I would devour this album whole.  Something just clicked.  It resonated with me and my extremely impressionable 15-year-old mind.  Diary would change me down to my core and would set me down a road of music that, even at 38 years of age, I’ve yet to stray from.

Fast forward to 1997.  My best friend Steve and I were all over the Midwest emo scene.  This was before GAP got hold of the word and cheapened it.  The post-hardcore scene of D.C. that was the birthplace of the sound we adored wasn’t that far in the rear view mirror.  This was in the early days of the internet.  Steve and I decided we’d start an online “zine”.  Looking back at it now, an online “zine” in 1997 was probably a little ahead of its time.  We called our little project Quagmire 9 and did music reviews, show reviews and collated all information for upcoming shows in a 100 mile radius of where we lived.  Eventually we’d end up getting into the show promotion game.

Imagine 17 and 16 year old kids being able to pull in bands like Cursive and Boilermaker to a sleepy, blue collar town on the Illinois River.

All of this eventually led to a small relationship with CRANK! Records.  We’d get little press packages that had all kinds of release information for bands they were distributing.  This is where we would become familiar with Mineral, a relatively unknown group at the time from Austin, TX.  We hopped in my 1985 Delta 88 and made the 30-minute drive across the river to CO-OP Records in East Peoria and picked up a copy of The Power of Failing, Mineral’s first album.  If Diary shook me to my core, The Power of Failing would resonate with me on a biochemical scale.  Every vital process of my entire being was owed to this album.  I came out the other end of my first listen as something different.

Listening this album in its entirety can still elicit a plethora of feelings inside of me.  A lot of my reviews right here on this wonderful site take on a theme of hopeless joy and redemption.  These are concepts that I often latch onto.  Looking back I would have to believe that it was lead singer Chris Simpson’s vocals that shaped my love for these ideas.  The album is just full of moments where it feels as if the world may collapse in on itself, only to come up for air and become awash in the sun’s healing rays.

“Tears stream down my cheeks only to meet their redeemer and be wiped away.  And there is joy.”

I’m unsure if it was the equipment used or just a lack of money for quality studio time, but The Power of Failing has one of the most incredibly raw and visceral sounds on a record that I can remember.  This rough-hewn sound gives The Power of Failing an almost violent edge.  It makes the melodic portions uneasy but uplifting while the more riotous and distorted parts come across as angry but supernal.  It would be difficult to imagine this record with anything other than the sound it has.  It’s since been remastered and it managed to retain the punch-you-in-the-gut sound that made it so absolutely brilliant.

https://www.youtube.com/watch?v=qII7RF5rDtM

I remember trying to get all the Smashing Pumpkin and Veruca Salt kids in high school to give Mineral a chance.  They just didn’t get it.  The younger me couldn’t get over how they weren’t moved by what they were hearing.

Mineral’s importance to the mid-90s emo scene is undeniable.  There were a lot of bands doing the Rites of Spring thing back in those days, but none of them did it with as much raw emotion as Mineral.  The lyrics weren’t weighted down in hyperbole or symbolism.  Chris Simpson spoke his mind and put everything in such a beautifully poetic prose.  It tore at your heart and left you smiling with a sort of recognition.  Pardon the cliché, but he was able to paint a picture.  A picture we’ve all found ourselves in but were always bereft of the words to accurately describe it.

“And I don’t know if I should say “I’m sorry” or “Thank you”.  I’ve tried to speak but the tears choke the words.  And I think I finally know what they mean when they talk about joy.”

This is just part of what made Mineral so damn special.  If the lyrics and vocal melodies weren’t tearing at your insides, it was the guitar, bass and drums.  They just had a way of making their instruments cry in torment.  I understand I’m starting to sound a little corny here, but before Mineral and bands like SDRE, guitars and rhythm played second fiddle to vocals.  Listen, I was an idiot kid but Mineral opened my eyes musically to concepts, ideas and feelings that I barely knew existed.

It sounds weird but this all started with my mom.  I honestly have her to thank for all of this.  If she hadn’t gone against her better, more conservative judgement and bought a Sunny Day Real Estate album at the behest of some skateboarding punk kid behind a desk at a record store, none of this would have happened.  Hell, I wouldn’t even be writing this. Thanks, momma.

 

MINERAL LINKS:

Facebook

Mineral Official Page

Twitter

Live Review: Guitar Wolf at Meow, Wellington

Guitar Wolf Meow - Will Not Fade
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Guitar Wolf

w/ Huge Mutant

Meow, Wellington

Friday 24 November 2017

I feel that I need to explain my choice of attire.

Yesterday I posted on Instagram about how I was so excited for the Guitar Wolf gig at Meow tonight, and that I was planning on wearing my finest Hawaiian shirt. Someone from the band Hiboux commented, asking if this was a thing.

In short: no. But there is a weird rationale behind my decision.

You see, this is my third time seeing Guitar Wolf live. The first time was at Bodega. It was the night after seeing Foo Fighters at Western Springs in Auckland – at the time easily the best live act I’d seen. And as amazing as the large-scale Foo Fighters concert was, Guitar Wolf came damned close to topping them in terms of putting on a phenomenal live music experience.

One of the highlights of that night was when the singer pulled me up on stage to join a human pyramid. Another was when he pulled up a guy with a large beard and Hawaiian shirt. He handed his guitar to our lumberjack-looking friend, compelled him to “feel the rock” and instructed him to strum out.

The second time I saw Guitar Wolf was at Mighty Mighty – another defunct Wellington venue. And lo and behold, the same guy – wearing the same Hawaiian shirt and rocking the same awesome beard – was pulled onstage to feel the rock and play guitar. This second time I figured out that he was selected because he won a thumb wrestle.

I vowed to myself that next time, I would like to win the thumb wrestle and transform into a rock god onstage, under tutelage from Japan’s finest. And just to somehow enhance my odds, I decided to dress the same as the lumberjack dude. My thought process doesn’t make much sense, but oh well.

I’m lucky I even made it to the gig. After a long week at work I was knackered. I work as a preschool teacher, and the combination of heat, hay fever and loud children had given me a severe headache. I decided to have a short nap when I got home.

Turns out I needed that nap more than I’d realised. I woke up at 10pm – four hours later! I quickly threw on the all-important Hawaiian shirt and raced down to Meow. I’d missed the opening acts, but thankfully got to the gig in time for the main act.

And what a beautiful sight it was. Three grown men onstage wearing leather jackets and velociraptor masks. The guitarist cracked a can of beer open and emptied it into the mouth of the dinosaur.

Guitar Wolf Meow photo by Kay

Image: Kay Hoddy

After a short intro track the trio ditched their dino masks. Seiji led the trio on vocals and guitar. He wore wraparound sunglasses and was dripping with sweat for most of the set. Half of the appeal of Guitar Wolf is their energy, and Seiji injects so much of his personality into the show – making exaggerated expressions and motions as he plays. Toru kept the beat on drums, and frantically combed his hair back – rockabilly style – between songs. They also had a new bass player – Hikaru. I remember previous bassist, U.G. had taken to his bass guitar with a saw, cutting off the bottom portion that he didn’t need, seeing as he only played three strings. Hikaru was great, energetically flicking his hair around, and supporting on vocals.

Guitar Wolf are not for everyone. They take cues from punk, rock, rockabilly and garage to create their unique “jet rock n’ roll” – think Japanese Ramones. They’re ear-splittingly loud, with plenty of feedback and distortion. And they’re fast too. OK, so they’re not the tightest act out, but why let technical ability get in the way of a good show?

Seiji had good banter – or at least from what I could understand. He made a shout out “my cousin, Prime Minister of New Zealand” during their cover of “Summertime Blues”. He asked if we had boyfriends/girlfriends/both, before teaching us how to love. He also asked the crowd what the highest mountain in New Zealand is, which had him stumped when he couldn’t understand the name Aoraki.

Guitar Wolf Meow photo by Kay Hoddy

The pick of destiny. Image: Kay Hoddy

If you can’t tell yet, the show was great. I had the best time.

Like, literally.

BECAUSE THE HAWAIIAN SHIRT WORKED!!!

Ok, so maybe it wasn’t the shirt. But I accomplished my goal.

As soon as Seiji removed his guitar strap I knew my time had come. He thrust his arm out into the crowd and I raced forward to grab his hand. He didn’t thumb wrestle me as I’d expected, but I clung on hard, trying to gain favour with him.

Seiji pulled me onstage, gave me his guitar, turning a knob so that the volume maxed out, squealing with feedback. Then he placed a guitar pick in my hand, raising it high above me head in a classic rock star stance. He shouted instructions my ear. To be honest I can’t even remember what he said – I was on such a buzz – but the gist is that I had to rock out.

I began strumming in time with the band. I’m not a guitarist and had no idea about chords, so I just played open, with my hand resting lightly on the strings on the neck to prevent too much feedback. My apologies to those who attended and had to put up with the cacophony I cause.

Seiji instructed me as I played. I don’t know if I understood correctly, but he guided me to wait, before strumming when he cued me. The next challenge was to jump in time with the band as we played. They all crouched down and I followed their lead, unsure of my role.

Image: Kay Hoddy

I have no idea how long I was on stage, but I was having the time of my life. I had bloody fingers and knuckles from the sharp guitar strings, but I didn’t care – it was worth it. At one point I noticed that one of the guitar strings had broken, and I wondered if I had done that, or had Seiji broken it earlier?

To finish, Seiji held me and pulled me down to the floor of the stage, removing the guitar from me. A man at the front of the crowd grabbed my legs and hoisted me up, and next thing I know, I was crowd surfing. It was unnerving, but I felt supported and nobody dropped me.

Guitar Wolf Meow photo by Kay Hoddy

Image: Kay Hoddy

The rest of the set was great. People congratulated me on my newfound rock god status. Guitar Wolf kept playing their furious music. It was fun.

They left the stage, before coming on with an encore of a few more songs, and Seiji wrapped up with a second, solo encore.

Guitar Wolf prove that a rock show needs to be exactly that – a show! They have the look, the attitude, and the energy – as well as the music. If you get the chance to see Guitar Wolf in action, do it! Just don’t forget your earplugs!

Rock and roll!

Guitar Wolf have three more dates in New Zealand:

Saturday 25th November, Whammy Bar, Auckland
Sunday 26th November, Kewpie Party Boat, Tauranga
Monday 27th November, Secret Show, West Auckland

Tickets at Undertheradar: http://www.undertheradar.co.nz/tour/7227/Guitar-Wolf-New-Zealand-Tour.utr

 

Words by Joseph James

Photos by Kay Hoddy (https://twitter.com/KayInNewZealand#)