Eagles of Death Metal, Rocket From The Crypt, Mutemath @ The Hi-Fi Bar, Melbourne (24/02/2014)
And so begins the first day of my Soundwave week extravaganza, and the whole thing seems to have come flying out of the gate with this sidewave starring the Eagles of Death Metal and Rocket From the Crypt featuring Mutemath. Now if only it didn't trip over its own legs halfway down the track. Still, it was an adventure, and like every good adventure I learnt a fair few things. And now dear reader, I shall impart these lessons unto you, so listen well...
1) Mutemath are one of the most unpredictable forces on the planet, next to earthquakes and which walls of the Hi-fi are really doors .
When the lanky New Orleans four piece came out to one of most morose intros this side of Nick Cave, I was perplexed. Why had two of the most infamously energetic acts of the festival been placed such a slow, intense, and deliberate act when there were still perfectly good Placebo sideshows needing supports? As if to answer my question, out of the Mellon collie shot what can only be described as the heroin addled love child between the Dandy Warhol’s and the Black Keys. As the front of this cacophony of noise, Paul Meany, cartwheeled across the stage, the then frozen audiences hearts melted ever so slightly or at least their neck joints did.
Each song produced a new surprise, from a bizarre duct tape wrapped device I like to call a static stick (it makes static funnily enough) to a summersault into a neon lit lilo held up by the well and truly won over audience. After an extended audience based drum battle, the band bid farewell to cheers and more than one wail of "the fuck did I just watch?!"
2) The new and not so improved Rocket From the Crypt know how to get sensual.
"Everyone, get your hands in the air!" orders Rocket front bro Speedo to the pogoing crowd. "Now, slowly lower them to the person in front of you's shoulders and give them a nice backrub." Modern Rocket From the Crypt are part of the legendary band revival with little original members. Sometimes this works really well, like with Flag and the Misfits, and the band keep making new music to carry on the legacy.
Unfortunately, this wasn't one of those times. Most of the band came off as bored upon the stage, with only the guitarist moving or even smiling. The sound production wasn't particular well done, with the brass section being drowned out nearly completely. Still, the diehard fans didn't seem to care, and by the end of the set a good half the venue had worn out their skanking boots.
3) Sometimes the best isn't saved for last...
When Eagles of Death Metal finally came out to the stage (after 55mins of soundcheck), with front man Jesse Hughes clad in heartbeat cape, it wasn't misguided for thinking that things were going to return to the weirdness that once was would be returning to the venue. But, Eagles were pretty much just a straight up rock act live.
The ridiculous stunts were kept to a minimum, as was the crowd talk (though when it did happen it was brilliant). Overall, their set felt a little off and out shined compared to the two earlier acts. That being said, the music was still good, but it didn't feel particularly like a headliner set. Perhaps in the fresh air of the Soundwave festival things are a little different...
Ben Spencer
1) Mutemath are one of the most unpredictable forces on the planet, next to earthquakes and which walls of the Hi-fi are really doors .
When the lanky New Orleans four piece came out to one of most morose intros this side of Nick Cave, I was perplexed. Why had two of the most infamously energetic acts of the festival been placed such a slow, intense, and deliberate act when there were still perfectly good Placebo sideshows needing supports? As if to answer my question, out of the Mellon collie shot what can only be described as the heroin addled love child between the Dandy Warhol’s and the Black Keys. As the front of this cacophony of noise, Paul Meany, cartwheeled across the stage, the then frozen audiences hearts melted ever so slightly or at least their neck joints did.
Each song produced a new surprise, from a bizarre duct tape wrapped device I like to call a static stick (it makes static funnily enough) to a summersault into a neon lit lilo held up by the well and truly won over audience. After an extended audience based drum battle, the band bid farewell to cheers and more than one wail of "the fuck did I just watch?!"
2) The new and not so improved Rocket From the Crypt know how to get sensual.
"Everyone, get your hands in the air!" orders Rocket front bro Speedo to the pogoing crowd. "Now, slowly lower them to the person in front of you's shoulders and give them a nice backrub." Modern Rocket From the Crypt are part of the legendary band revival with little original members. Sometimes this works really well, like with Flag and the Misfits, and the band keep making new music to carry on the legacy.
Unfortunately, this wasn't one of those times. Most of the band came off as bored upon the stage, with only the guitarist moving or even smiling. The sound production wasn't particular well done, with the brass section being drowned out nearly completely. Still, the diehard fans didn't seem to care, and by the end of the set a good half the venue had worn out their skanking boots.
3) Sometimes the best isn't saved for last...
When Eagles of Death Metal finally came out to the stage (after 55mins of soundcheck), with front man Jesse Hughes clad in heartbeat cape, it wasn't misguided for thinking that things were going to return to the weirdness that once was would be returning to the venue. But, Eagles were pretty much just a straight up rock act live.
The ridiculous stunts were kept to a minimum, as was the crowd talk (though when it did happen it was brilliant). Overall, their set felt a little off and out shined compared to the two earlier acts. That being said, the music was still good, but it didn't feel particularly like a headliner set. Perhaps in the fresh air of the Soundwave festival things are a little different...
Ben Spencer