Album Review: sleepmakeswaves – It’s Here, But I Have No Names For It

sleepmakeswaves are the following:

Fun
Energetic
Excellent riffs
One of my favourite post-rock bands
Absolutely awesome
Hot, cool and sexy

I’ve seen sleepmakeswaves play twice. The first time was at San Fran, a local venue here in Wellington. They were opening for This Will Destroy You, and were incredible and definitely made TWDY look lame by comparison. The next time was in Melbourne, at Monolith Festival. Monolith was an awesome day featuring a unbelievably stacked lineup of Australian post and prog bands, and sleepmakeswaves played a stand out set that made me feel so giddy and happy that I think they should look at somehow packaging their music in pill form to be used as antidepressants.

I will be seeing them play in Belgium at dunk!festival this coming May as well and they are the band I am most excited to see.

But let’s not get ahead of ourselves.

I reviewed their album Made of Breath Only back in 2017. I loved it, of course. Since then sleepmakeswaves have released an ambitious 3 EP trilogy, a live album, and a split 7″ with Cog [Another fantastic Australian band. They also played the aforementioned Monolith Festival, and I’ve written about one of their side projects – The Occupants]. And now they’re treating us to a new record: It’s Here, But I Have No Names For It.

What a beautifully meta title. It’s basically called Untitled, but in the spirit of ridiculous long run-on names that are somewhat common in the post-rock scene [other examples: maybeshewill, 65daysofstatic, worriedaboutsatan]. I see other glimpses into their sense of humour when watching their Metallica cover [shaving a chopper mo just for the video is definite commitment to the bit!] and their 8bit computer game promo video for this album, and I get the impression that these lads would be great to hang out with.

Let’s engage in an imagination exercise. Picture me pressing play on this record. I’m listening to an advanced digital download, but it’s cooler if you picture me placing the needle onto the groove of the record while it spins on the turntable. Probably a splattery green pressing, to match the album art. It doesn’t matter – this is an imagined scenario anyway.

Cue fuzzy droning, a cool metallic metronome, a wicked drum beat, and a big build up. My face lights up more and more with each addition. There’s a pause, and then a huge bombastic drum fill. Suddenly I’m jumping around the room, playing air-drums, with a big pulsing quarter notes on the crash cymbal, whilst simultaneously wielding a sick air guitar and shredding. I’m full stank face mode, and we’re only a minute into the album.

Let that visual inform you of the tone of this review. sleepmakeswaves make me so excited and I need everyone to know about it.

Lead single “Super Realm Park” is big, energetic and driving. It has loud parts and quiet dynamic sections. There’s some glitchy electronic elements at times, and lots of tremolo playing. It finishes with a lovely piano outro. It showcases exactly what sleepmakeswaves are capable of.

Here’s an extract from the press release for the second single, “Ritual Control”:

The band comments: “Ritual Control was originally demoed as Dr. Riff Has Arrived. I still wonder whether we were mistaken to have not kept the old title.

Otto originally presented the skeleton of the song to us with the concern that maybe the riff were “too dumb”. In fact, Tim and I responded, they are the perfect quantity of dumb. Sure, these riffs aren’t going to earn a PhD but they will hold down a full-time job, get the kids to school on time and read the occasional piece of challenging non-fiction on weekends. These kinds of courageous and heartfelt conversations are the core of what effective post-rock songwriting is all about.“

Big dumb riffs. That’s what we want. Why think when you can headbang? Local doomlords Beastwars have the slogan “Obey the Riff”, which is both marketing genius and an apt phrase, and summarises exactly the feeling I’m trying to convey. Most sleepmakeswaves songs are instrumental. We don’t need to get caught up pondering meaning and . Dumb riffs = good music. Also, Soundgarden have a song entitled “Big Dumb Sex”. Not sure how that’s relevant but I feel it supports my case somehow.

I’m not sure which riff in “Ritual Control” riff is the “dumb riff” in question, but there’s a great part at 2:30 where everything drops out, and an extremely raunchy riff comes centrestage, and I must draw your attention to that part of the song.

The album starts of extremely strong, and you definitely know about this. Things shift gear down from such bombastic heights and begin to take a turn with the fourth track, “Black Paradise”, which features quiet guitar picking for the first half, followed by pretty synth drone and guitar swells in the following song, “Verdigris”.

Two songs features ethereal vocals, which is a point of difference for an instrumental band. We hear singing on “Terror Future” – with its especially outstanding basslines, and also on the titular track.

“It’s Here, But I Have No Names For It” is truly beautiful. The serene fingerpicking and searing yet calm guitar playing reminds me of Dan Caine’s work. It builds up with an anthemic rock feel, but there’s something special about this track that sets it apart from the others. It feels more considered and emotive, and somehow befitting of it’s name. To quote the band again: “The title is a line from zen and the art of motorcycle maintenance, about not needing to find words for everything all the time.” I can’t explain it, but I somehow understand how fitting that is when I hear the song.

This is what I wanted. This is what I needed. sleepmakeswaves delivers, yet again. It’s Here, But I Have No Names For It sounds simply huge. The album feels short, but it packs such a punch that perhaps more music would cause fatigue. It is an album of two halves. The immense, high energy rock songs at the start of the album are incredible and fill me with such incredible joy and excitement. And then the later half of the album features a few quieter tracks to show that sleepmakeswaves aren’t just a one-trick-pony. But trust me, it’s all fantastic. Or maybe don’t trust me – I’ve painted a picture of a madman when describing my reactions to sleepmakeswaves’ music. – but at least check out this excellent album.

sleepmakeswaves have Australian, American and European tours lined up to promote this album. They are playing alongside their countryfolk Meniscus and Tangled Thoughts of Leaving, as well as Taiwanese math-rockers Elephant Gym. I encourage you to attend one of those shows if you get the opportunity. As I mentioned earlier, I will be seeing them at dunk!festival in Belgium, and I am fizzing with excitement for it.

It’s Here, But I Have No Names For It will be released on 12 April 2024

sleepmakeswaves links:

Order: https://sleepmakeswaves.bandcamp.com
Instagram: https://instagram.com/sleepmakeswavesaus
Facebook: https://facebook.com/sleepmakeswaves
Label: https://birdsrobe.com

Review and photos by Joseph James

Live Review: WITCH at Meow, Wellington

WITCH

w/ The Spectre Collective

Meow, Wellington

Thursday March 14 2024

We Intend To Cause Havoc.

What a statement.

The acronym wasn’t part the band name originally, but I appreciate it all the same.

WITCH were a Zambian band in the 1970s. Their music – classed at “Zamrock” – was often psychedelic, groovy, and infectiously fun.

I can’t help but draw parallels between WITCH and Rodriguez. Rodriguez was an American musician who went through life of hardship, little realising that he was somehow a huge star overseas – notably in South Africa. The 2012 documentary Searching for Sugar Man drew attention to his music and revived his music career, resulting in a resurgence of interest and international tours.

Likewise, the 2019 documentary W.I.T.C.H about the band of the same name has revitalized the band, leading them to release their first album in 40 years, and travel the world.

While both WITCH and Rodriguez were sensations in Africa, WITCH were absolutely aware of their stardom. One of my favourite moments in the doco was when they read old newspaper articles about the band, detailing one occasion where fans were so desperate to attend a concert that they ripped the roof off the venue in order to enter. But a variety of factors led to the death of the band. The AIDs epidemic, a shift in interest from rock to disco, and economic and sociopolitical unrest in Zambia all contributed to its demise.

But they’re back now. Fronted by Jagari, with keyboardist Patrick Mwondela from WITCH’s disco era and some new younger band mates from both Zambia and around the world, WITCH have reformed, put out new record Zango, and are bringing Zamrock to the world again.

It’s a great tale. And who doesn’t love an underdog story? In the doco, Jagari compares himself to wine, saying that aging has only improved him. It was time to see if they band lived up to their legend.

Meow was packed. It was hot, and people were excited to be here.

The current iteration of WITCH includes nine members. As mentioned, Jagari and Mwondela are the two established players. They have two on their kinswomen – Hanna Tembo and Theresa Ng’ambi – on backing vocals and the rest of their bandmates come from as far afield as The Netherlands, Germany and America. I especially enjoyed the additional percussion that fleshed out the rhythm section with infectious beats.

Many of them wore wonderful bright clothing. I would have liked to see the entire band dressed to theme in a united front, if not just for the wonderful visual appeal. Tembo and Ng’ambi wore vibrant outfits with bold patterns and danced in unison with their big grins. Jagari, Mwondela and bass player Jacco Gardner all had colourful hats on, the first two with custom hats showing their band name emblazoned on the front, and Gardner’s must be a Zambian style – I’d seen it in the doco as well.

Jagari looked so pleased and at home onstage, clearly reveling in the chance to relive his glory days. the documentary had detailed some of his hardships – seeing many bandmates die young, being falsely accused of a crime that had him stripped of his teaching profession. He was doing hard labour – mining in search of precious gems for a living – when the documentary crew first found him. But now he had his second chance to share his talents and joy with fans from a stage, and this time he gets to travel the world doing it. His nickname is in comparison to The Rolling Stone’s Mick Jagger, and Jagari was known for his wild showmanship and marathon efforts during WITCH’s legendary sets back in their heyday. He may have toned down somewhat throughout the years, but his charm tonight was undeniable.

The thought did cross my mind that WITCH may feel ‘diluted’ from recruiting musicians from around the globe. Is it still authentic Zamrock if only half the band is from Zambia? But honestly, they sounded great, and they introduced many of the songs and shared that the inspirations came from Zambian daily life – phrases and experiences and people that they encounter in their culture. The funniest one was about how Jagari was almost rejected as a son-in-law by his wife’s family because musicians are not seen to have a respected profession in Zambia. How could he be trusted to provide for his family if he is a mere singer?

Another – “Malango” – was a song inspired by matriarchs who share wisdoms like how we can learn from bees. Tembo and Ng’ambi took over from Jagari and led the song, and you could see how their conversing at the beginning of the song was just like how things would be at home.

They drew from through their catalogue, but I’d say the handful of new songs from Zango offered a fresh extra oomph. Perhaps it is because these musicians were the ones that wrote and recorded the album, so they knew that material better? But the set was great throughout. As I mentioned, the venue was very full, and it was clear that some people were longtime fans, with many shouting out requests for their favourite songs between sings.

My favourite moments were when Jagari handed a cowbell out to members of the audience throughout one song, inviting them to contribute by playing how they see fit. Some tried to come up with interesting ostinatos during their turn, and one champion just laid into it like Will Ferrell in the infamous SNL “More Cowbell” skit. I found the crowd interaction so endearing, showing that the music is for everyone to enjoy and participate in. Jagari frequently gave high-fives to the front row attendees throughout the night, and made it very clear how grateful he was to his bandmates during the song “Introduction”. That mood permeated the night. Everyone was happy and thankful for the wonderful music that brings us together.

Joseph James

Live Review: Russian Circles at The Gov, Adelaide

Russian Circles

w/ Tangled Thoughts of Leaving

The Gov, Adelaide, South Australia

Monday 5 February 2024

There’s a good crowd for a Monday night show in Adelaide, ready to hear some loud, chugging, mesmerising heavy instrumental rock, post-metal, jazz, drone, stoner – whatever else you want to call it.

With only two bands tonight it gives both a bit more time to play and we are richly rewarded. The two dynamic and intense sets are well received by a crowd there to see and hear excellent music.

The first time I saw Tangled about twelve or thirteen years ago they played most of their debut album Deaden the Fields (still one of my top 20 albums ever). It was clear these were musicians with significant skill, passion, and energy. Since then each time I’ve seen them they play a mix of old and new, but tonight they surprised by playing almost all of their most recent release Oscillating Forest, in order. Nothing else, which was fitting, given it was really one piece of music in several parts.

It was almost like starting all over again – they have grown with every release, but their compositions have leapt ahead and hit a new high. This music drives, pounds, explores. I’m still in awe of a group of musicians who can play music for 50 minutes with such an incredible clash of chaos and pounding inhuman noise. Each of them is hugely talented they have really expanded the feeling of improvisation that has always been a signature of their writing and playing. What relief you get from their moments of comfort and care are soon plucked away as you are smashed against the rocks and fallen buildings of a post-apocalyptic world. Un fucking believable.

Next up are Russian Circles, who I think have been to Australia four times previously. We don’t get many acts of this quality coming all this way this often, and we will be seeing bassist Brian Cook again soon when he tours with Botch. Sargent House just keeps sending the good stuff, and local promoters like Birds Robe Records keep supplying great support acts.

“Station” and “Harper Lewis” get the perpetual motion machine running with the trademark cracking, pounding drums of Dave Turncrantz, Cook’s chugging and thumping bass, loops and pedal synth, and Mike Sullivan’s guitar floating over the top or cutting through (his riffs at 3:15 always just put me in a trance). They might have played “Harper Lewis” live well over 400 times but there is no lack of passion and energy, and it’s as tight as a drum.

From the familiar to the newer, they give us “Conduit” from their 2022 release Gnosis, which isn’t much of a shift in direction and keeps the chugging going, before the delicate introduction that signals “Afrika” as it picks you up out of the darkness and you reach for the sky. It’s a beautiful contrast and provides one of the best examples of their dynamic sound and moods within one song – an enhanced “1777” if you like. Fuck this is good.

“Quartered” takes us back to the chugging, driving rhythm before “Betrayal” creates a wall of noise behind which bass and guitar take turns in providing riffs and melody. “Gnosis” brings the tempo down again with its engaging crescendocore. “Deficit” comes along next to represent Memorial on its own and we go back to their first album with “Youngblood”. As the night draws to an end, the intensity of “Mlàdek” runs out the set, leaving us with chugging bass in our ears and smiles on our faces.

Russian Circles and Tangled Thoughts of Leaving have these remaining dates together:

Thu Feb 8 – The Triffid, Brisbane QLD
Fri Feb 9 – Max Watts, Melbourne VIC
Sat Feb 10 – Max Watts, Melbourne VIC

Tickets on sale from birdsrobe.com & russiancircles.com

Presented by Bird’s Robe & Valhalla Touring.

Review by Gilbert Potts.

Follow him on Twitter: https://twitter.com/GlbrtPtts1

Gilbert also wrote: ALBUM REVIEW: WE LOST THE SEA – TRIUMPH & DISASTER

Photos taken by Joseph James at Russian Circles’ Wellington show on the same tour, Thursday 1 February 2024

Live Review: Princess Chelsea at Meow, Wellington

Princess Chelsea – Everything is Going to be Alright Tour

Friday 12 January 2024

Meow, Wellington

w/ Power Nap and Stälker

Power Nap started the night off with synth music that reminded me of 80s music and video game soundtracks. The crowd was still coming in in dribs and drabs, but those in attendance appeared to enjoy it, nodding along to the pumping tunes. Journalist Martyn Pepperell was especially vocal in his approval during a few songs. I don’t usually listen to music like this, but I enjoyed the set.

Stälker are one of my favourite local bands. I remember when I first moved to Wellington as an 18 year old, a band named Gaywyre (later renamed Razorwyre) would consistently put on the best shows at Medusa (now Valhalla), with their ridiculously highly charged powermetal anthems that would pull in audiences that far exceeded the maximum occupancy of the venue. I was beyond stoked to see Chris (guitar) and Nick (drums) return years later with a new band in the same vein: Stälker. It’s fast, grotesque and fun speed metal.

At first they seem like an odd choice, but Princess Chelsea is usually seen sporting a Judas Priest shirt, so the music influence overlap is very apparent. Not to mention that she even wears a Stälker shirt in music videos.

For the uninitiated: Stälker is an experience and a half. Chris on guitar wears a spandex outfit with a bondage chain and a big Greek afro, and he and Daif (bass and lead vocals) both have excessive studded belts and white hightops. It’s an 80’s metal revival and I’m here for it.

Nick on drums lays down the relentless double bass beats while Daif and Chris walk about the stage shredding and shrieking. They made use of the stage, swapping back and forth as they treated us to riff after riff. Chris ran off stage into the green room a few times and I wondered if he’d broken his guitar and needed to grab a spare, or along those lines. But no, he’d return with fistfuls of beers to distribute to the headbangers lined up in front of the stage barrier. Stälker always play a great set and this time was no different, and even seemed a bit more dynamic than usual, with a few more crowd interaction moments and extended passages.

Headline act Princess Chelsea was a real change in vibes after Stälker’s assault. Small bunches of flowers were attached to the mic stands, reminding me of that time that I’d seen Faith No More play with thousands of dollars worth of flowers onstage with them. The amps and music stands had sequined fabric draped on them. A large stuffed toy monkey sat atop the bass drum. And there were seven musicians onstage. They all swap instruments on the regular, but duties included guitar, bass, drums, percussion, keyboard, percussion and glockenspiel. And all of them contributed to vocals.

Princess Chelsea herself had short, slicked down hair, with jewels attached under her eyes, dark lipstick, a necklace with tiny skulls on it and a Judas Priest t-shirt. It was as if the Childlike Empress from The Neverending Story had gone goth. She mentioned how she loved having mixed bills with bands that played different styles – which was very obvious tonight. And how she was enjoying touring in Aotearoa, having played Whanganui the night before.

I’d seen Princess Chelsea play at the Save the b event in Auckland last month. I purely went because I’m a huge Shihad fan and they were playing their first album, Churn in full. But in all honesty, Princess Chelsea’s set was my highlight of the event.

They’d made the most of the stage, employing the use of the huge organ at Auckland Town Hall, giving mad scientist vibes. They had a harpist. The drums sounded huge. There was so much going on. I found myself swept up in the layers of music, thoroughly enjoying the chaos.

Tonight’s set at Meow was still in the same vein. There was still a lot happening, with instruments densely layering to create an immense sound, and the seven members swapping roles frequently. They played their 2022 album Everything Is Going To Be Alright, followed with an encore of a handful of older hits, including covers of artists Disasteradio and David Lynch (the director).

The music is hard to categorise. Like Chelsea’s look, a bit cutesy, and a bit dark. Twinkly glockenspiel ostinatos sit alongside scorching guitar feedback. They have loads of percussive items onstage, with one shaker looking like a banana, another being a skull. An odd dichotomy that just seems to work. I’ve been listening to a fair bit of Princess Chelsea’s music lately and I think it’s fair to say that the songs take on a life of their own in a live setting.

One highlight was when Josh lay on the floor with the stuffed monkey for most of the song “In Heaven” – seemingly asleep – before rushing offstage to grab a trumpet, coming back to deliver a fantastic solo to rapturous applause. Another moment like this was when Simeon broke his guitar neck at one point, getting a bit too into the performance, and had to rush to the green room hoping to find a spare guitar to use as replacement.

I loved the dirgy, oppressive feel of the title track, “Everything is Going to be Alright”, slowly building under eerie organ and throbbing bass notes, before giving way too immense squalling guitar feedback. But the best song was “Monkey Eats Bananas”. The musicians clearly having an absolute blast as they could let loose and have fun playing a silly song that allowed them some spontaneity.

It was a weird lineup. But somehow it worked. An immensely enjoyable night. Class musicians pushing sonic boundaries and playing odd but excellent music. I never thought I’d be seeing a speed metal band opening for chamber pop act, but I’m sure glad I did.

Words and photos by Joseph James

Album Review: Vorn – The Late Album

There’s no hiding that I love Vorn – the eponymous band of Vorn Colgan, also featuring Thomas Liggett on violin and Nick Brown on drums. I once flew to Nelson overnight to see them play in Mapua and I took my parents to the gig.

Have you ever had that experience where you’re watching a movie with your folks and then a sex scene comes on and it becomes extremely uncomfortable and you’re not quite sure where to look? Yeah… the gig was a bit like that. I’m not sure why I thought it’d be wise to take my fairly conservative mother to a Vorn gig. But I did – and on the whole it was a good time – but just left me feeling a bit unclean and borderline regretful afterwards – which I think is the natural reaction for most people who listen to Vorn’s music.

Vorn live in Mapua. Image: Will Not Fade

You may remember that I reviewed Vorn’s (the band) last release, which came in the format of a one-take YouTube video. The experimental format was not much of a success – if measured by how many listens the release acquires – but in true Vorn fashion, it was original and showcased some great musicianship.

Since then, Vorn (the person) has found success through other means, going semi-viral with The Wellington Sea Shanty Society, and adding trombone to his ever-expanding repertoire as a member of New Orleans styled second-line band Crash Bandihoot.

Opening track “Fanfare” brings you up to date with events that have happened over the past five years. Vorn is living (or dying, depending on what sensationalist spin he drums up to sell albums) with stage four cancer. I found this out when I saw the press release advertising his 2019 “Last Chance to See” Final Tour. That news hit me hard. It took a while to sink in and I broke down in tears at work the following day. But thankfully modern medicine (or more likely: sheer stubbornness) has kept Vorn with us long enough for him to void his “last chance” promises and putt out another album for the general public to ignore. The song is obnoxious in pedantry and weird time signature changes, but with wry humour throughout so it’s all par for the course. It also explains the album title: The Late Album, which Vorn always joked would be his post-humous next release.

Lead single “No Arms No Chocolate” discusses horrific ways to perish and the futility of life. Life goes on… or rather it doesn’t. So it goes.

I love the pacing of it – very driven with lots of pulsing stabs of rhythm. It sweeps you up and takes you for a ride. A rip-roaringly cheerful nihilism anthem. Drummer Nick Brown shared that the song title references a weird French chocolate advert but couldn’t explain what that had to do with the song’s themes. Or why he wore that questionable Santa outfit in the video clip…

Follow up single, “A Safe Pair of Hands” lives up to its name. I find the bass line especially warm and comforting. I don’t have a clue what it’s about, but I find it incredibly endearing. They’ve done well blending traditional instruments with some programmed/synthesized elements to create a dynamically catchy and inviting wee earworm. It’s a reworked version of a song that Vorn contributed to a Powertools Records compilation years ago, and I’m glad that they’ve chosen to revisit it and bring more attention to that fantastic songwriting. This is the song that I keep coming back to, and I love how it makes me feel.

I’m not going to give a blow by blow summary. No one has that much tolerance to put up with all my in-jokes. But I’ll touch on a handful of the songs to highlight the variety of what you’d expect to encounter.

“Aging Hipster Blues” is a fun, tongue in cheek shuffle with an air of smarmy jaded elitism. It conjures the image of that Simpsons meme in which Principal Skinner is questioning how he became so out of touch. “Ballad in G Sharp Minor” is a waltz but certainly not a romantic dance. “The Unbearable Dumbness of Being” sounds like post-punk mixed with electronica. “Drug Friends” is the spiritual successor to “The Tinny House Hop” from Vorn and The (2008) – fun, catchy, and about drugs.

“Somebody Wrote A Prog Song About The Internet and It Is Fire Emoji” is extremly meta and the title sums it up. At first, it’s a bit slow for me. But when it hits, damn it’s awesome. Watch your volume levels on this one, because it’s so quiet for the first half, before coming in loud and strong with riffs and distortion and cool musical elements that bogans like. This is the song that outs me as an insufferable Tool fan if I chose to discuss it. The final passage is full stank face mode.

“A Dying Man’s Curse Be Upon You” is an interesting concept – the contrarian answer to the Irish Blessing that you’d expect to find embroidered and on display at any given Pakeha Grandmother’s house. I find it both funny and genuinely upsetting, especially considering the niche band merch Vorn made to accompany the song. Take time to listen to the lyrics and laugh at just how petty the curse is.

“Zombie Rock” is always a favourite. A jazzy number that invites crowd participation with the easily learnt lyric of “BRAINS!” Vorn never learns though. You’d think he would, running niche pub quizzes every week, but he doesn’t. This crowd participation always backfires and irritates him no end when people inevitably screw it up. And I find his frustration hilarious and always heckle him about it whenever the opportunity presents itself. Anyway, the song is infectiously fun. And even more fun when you shout out BRAINS! at the wrong time just to annoy the guy who wrote the song. [Editorial note: I have since found out that “Zombie Rock” is not on the album, but will be used as a B Side. But I love the song and I like heckling Vorn so I’ve opted to keep this paragraph anyway.]

Vorn’s musical output has always been fantastic. Ceaselessly witty, and drawing indiscriminately from random genres. And Vorn has never shied away from dark themes. But I do find the subject matter of this album confronting at times – seeing how it is about one of my friends dying. Vorn wrestles with his mortality by singing about his looming demise with humour.

You can see the trio wearing matching t-shirts in the video clip for lead single “No Arms No Chocolate”, and the album art for this single features the same image. It’s Vorn’s “deathmask”. To quote him “It was custom made to immobilise my face while they fired radiation into my brain. The X marks one of the spots”. They’ve turned brain tumours into band merch. Similarly, they have been selling t-shirts of Vorn’s face with eye’s X’d out for a few years – a design that they’ve updated for The Late Album cover art. Power to Vorn for finding a way to process things in a creative and productive way, but do get a bit sensitive about it.

Vorn is a nerd. An intellectual and a musical savant. The stereotypical New Zealander loves rugby and Six60, and Vorn is the antithesis of this. So I am torn between admiring his talent, and wanting to tear him down for being the tall standing poppy that he is. But ultimately I have to concede that I am a nerd too – undeniably so, seeing how I run a music blog. So of course I love how clever and complex Vorn’s music is. The biting social commentary, the marvelous harmonies, the odd time-signatures that the band plays in, just because they are good talented enough that they need to challenge themselves like that. All packaged up in a macabre, self-deprecating album.

Kudos to Thomas and Nick for making the band more than the sum of its parts. Thomas’ violin playing never ceases to fascinate me, the ways he makes different sounds with his plucking and bowing and using effects pedals. And as a drummer, I’ve always admired Nick’s playing, and marveled at how his style is so different to my own. And when the three of them are harmonizing, the vocals are to die for. The Vorn band has featured many different members throughout the years, but Thomas and Nick have stuck with Vorn for some time now, and it really shows with how well they can lock in and interplay.

Imposter syndrome is never far from reach, and as I try to conclude this review, I am very much aware that I will never be able to do justice to any analysis of Vorn’s creative outputs. I consider Vorn (the person) a genius, and am in awe of the talent that the Vorn trio amass. I have no idea what many of his songs are about, or quite how technical and challenging they are to play. It’s beyond my comprehension. But the music is fun, funny and interesting, and certainly a departure from convention.

Recommended for nerdy musicians, intellectuals and those with dark sense of humour.

Vorn links:

https://vornpowertool.bandcamp.com/
https://www.vornmusic.com/
https://www.facebook.com/Vornmusic/
https://www.youtube.com/@vornography

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