Blog — Page 254 of 284

The infrequently-updated site blog, featuring a range of content including show reviews, musical musings and off-color ramblings on other varied topics.

This Is Hop Hop Festival @ Hordern Pavilion

Posted by T • May 30, 2016

This is Hip Hop Festival

Hordern Pavilion

Sydney, Australia

May 27, 2016

 

Hot tub hip-hop time machine:

Featuring a nostalgic ‘90s focused line-up with all protagonists having had a substantial impact on all facets of American hip-hop culture throughout the years, the Australian mini-festival “This is Hip Hop” offered the opportunity to witness Queensbridge’s infamous Mobb Deep, West Coast stalwart DJ Quik, and Cleveland’s Bone, Thugs & Harmony, the latter of which were to perform their seminal album E. 1999 Eternal in its entirety.

DJ Quik set the tone of the evening, which turned out to be more of a celebratory, intimate bloc-party one than what the sterile environment of the airport hangar like Hordern Pavilion usually provides. Originally constructed to meet the increasing demands for exhibition space at Sydney’s Royal Easter Show, the Hordern is basically a big hall.

Quik’s Greatest Hits: Live at the House of Blues album is testament to the qualities of his live performances and his ability to fill even the most soulless of venues with a soulful vibe: West Coast shows with his well-oiled backing band have become a fixture in recent years and it is not uncommon for his shows to culminate in funk and soul jam sessions featuring celebrity guests.

Halfway across the world he was backed by his DJ in a more stripped down incarnation, which still proved to be enough of a funkafied backup. With soulful hooks aplenty and at times jazz-fusion grooves, DJ Quik’s songwriting skills manage to make one momentarily forget the formula most rap songs are structured in.

While DJ Quik and comrades sampled P-Funk tunes in the 90ies and pioneered G-Funk on the West Coast by incorporating multi-layered slow hypnotic grooves, deep bass, background female vocals, and high-pitched portamento saw wave synthesizer leads, the infamous Mobb Deep rose to become one of the most critically acclaimed hardcore East Coast hip-hop groups with their darker, fatalistic, battled hardened straightforward narration of street life.

Australian hip-hop festivals with US acts have a history of cancellations, downgrades and immigration issues, with this one not being an exception: Lady of Rage dropping off the bill last minute and only 50% of the infamous Mobb Deep materialized on terra australis: With Prodigy not having made it Down Under due to doctor’s orders and his well publicized illness, his partner is crime Havoc had to hold the fort and shoulder all vocal performance duties.

Needless to say that with Prodigy’s absence and the fact that much of the appeal lies in the back and forth and the natural chemistry between the two protagonists from Queens’ concrete jungle, the performance left a bit to be desired. Havoc rose to the occasion thought and soldiered through the classics, proving that it is nearly impossible to deliver a bad show when one can cherry pick from a treasured back catalogue like that of Mobb Deep.

Transcending hip-hop generations, especially cuts from their classic The Infamous album upped the nod factor amongst the crowd across a raw, short and brutally to the point set.

Same coast, bit inland, Buckeye State, southern shore of Lake Eerie, different vibe:

Enter Cleveland’s own Bone, Thugs-N-Harmony.

E. 1999 Eternal, the title an homage both the street corner frequented by BT-n-H as well as their mentor Easy E, is a milestone in the G-Funk meet East Coast genre, dominated by a consistent menacing and somber tone due to its lyricism being firmly rooted in gloomy territory, the sense of tunefulness was never lost as it was framed by smoked-out, groovy and melodic synth ornaments.

The album set a benchmark in terms of mixing the rhyme-style, cadence and familiar themes of the gangster genre with seemingly incongruent singjay harmonizing, goth-style melodic flows and street corner crooning.

While the record presented itself in a laid-back and ethereal manner,

Bone, Thugs-N-Harmony’s live rendition is more of an upbeat affair with their trademark soulful delivery style of intertwining, engaging rapid-fire rhymes teamwork, with each member contributing his unique style to a coherent whole with an exceptional tonal range.

While some might prefer the mystic clouds of nostalgia contained within recordings to the real thing, an enjoyable evening was concluded with Bones’ charismatic and vocally impressive performance that showed that both their album as well as their ability to command a crowd stood the test of time.

--

Photos by KAVV

Gallery: Bone Thugs-N-Harmony (7 photos)

T • May 30, 2016

Royal Headache @ Bald Face Stag Hotel

Posted by T • May 17, 2016

Royal Headache at Reverse Charges festival

Bald Face Stag Hotel

Sydney, Australia

May 13, 2016

 

The monolithic water tower among the mainly Portuguese commercial offerings and vis-à-vis from the Masonic Temple in Petersham, one of Sydney’s inner west suburbs 6km south of its CBD, that graces the cover of Royal Headache’s High full-length is not a thing of beauty.

While useful in nature, the ole standpipe is the embodiment of a soulless brutalist structure.

The diametric opposite of Royal Headache’s passionate mélange of gritty, reverb soaked lo-fi punk and soul.

Very realist and at times bleak in nature, the soundtrack Royal Headache provides is fodder for escapism, fueled by alienation, hopes and anxiety in equal measures.

There is sincerity in their emissions and it shines through in a live environment.

Creating a calculated chaos with their intense, catchy and soulful songs and Shogun’s impassioned RnB-tinged vocal delivery, they make an instant connection with the audience.

Make sure to catch them during their upcoming European / UK and US shows before they blow up or implode, both of which are very realistic, possible future scenarios for Royal Headache.

T • May 17, 2016

Kadavar @ Manning Bar

Posted by T • May 4, 2016

Kadavar

Manning Bar

Sydney, Australia

April 29, 2016

Kadavar are a Teutonic Teestubenrock band from the Grandfatherland, Berlin.

Accomplished retro in sound, appearance, and vintage equipment – Kadavar looks like they were trapped in amber in 1972.

The trio combines the filet pieces of the ‘70ies groovy, pompous hard rock, tinges of psychedelic and progressive rock and classic proto-metal era into a catchy, sexy mélange.

In a live environment, it is a powerful, quintessential rock experience that sonically connects with the audience and is presented in a serious manner devoid of irony.

With Kadavar nostalgia is omnipresent.

Cynism is not.

A dose of detachment and dissatisfaction with present times is.

The production channeling technique of their studio albums is reproduced on stage in a loud, engaging manner, showcasing Kadavar’s knack for writing memorable hooks.

A whirlwind of hair and beards with “Tiger’s” mesmerizing, dervish-esque drumming in the centre flanked by “Lupus’” on guitar and vocals on the left and the other half of the rhythm section with “Dragon’s” lava bass lines meandering on the right.

An earthy wall of sound produced by gentlemen with middle-earthy monikers.

The evening before Walpurgisnacht ended on the grounds of the University of Sydney with the faith in genuine rock restored.

T • May 4, 2016

Brian Posehn @ Factory Theatre

Posted by T • April 24, 2016

Brian Posehn

Factory Theatre

Sydney, Australia

April 19, 2016

 

Humour and comedy is subjective.

What one person finds funny another might cringe at.

Cue E.B. White.

Analysing comedy is like dissecting a frog: You might understand it better at the end but the frog dies as a result of it.

Most comedy is based on simple, basic truths.

Basic truths that are spoken out.

Some say humour is masturbatory.

Padding yourself on the shoulder that you are intelligent enough to find what is being said foolish or to congratulate yourself on understanding the concept of the joke.

If you are into metal, nerdism, and weed, you will probably enjoy Brian Posehn’s stand-up routine and his anecdotes about encounters with the bands of the genre.

Being a self-professed nerd, Posehn’s self-deprecating humour and authenticity adds to his routine when he talks us through popular culture, e.g. Star Wars franchise, and its less savoury emissions, i.e. hipsterdom, along with insights on his childhood, teenage years, and married life as a father.

The audience thoroughly enjoyed Brian Posehn’s show, which was part of Sydney’s annual comedy festival.

Basic truths spoken out very loudly.

T • April 24, 2016

Iggy Pop @ Ellie Caulkins

Posted by Kevin Fitzpatrick • April 4, 2016

Iggy Pop

Post Pop Depression Tour

Ellie Caulkins Opera House

Denver, Colorado

April 2, 2016

 

It was a night of anticipation. Iggy Pop was returning to Denver. In an opera house, no less. Considering he invited hundreds of fans on stage with him the last time he rolled through the town with The Stooges, this was a surprising choice, if from nothing other than a damage deposit standpoint.

This was not a Stooges show. This was not an Iggy solo show. This was a whole other beast entirely. This was the Post Pop Depression tour. An album completing his unfinished Berlin trilogy that started with 1977's The Idiot and Lust For Life. The album was a secret collaboration between Iggy and Josh Homme of Queens of the Stone Age and it was a doozy, with the songwriting keeping the Berlin aesthetic while at the same time being its own completely unique creation.

 

So when a brief 20 date tour was announced, featuring Iggy, Homme, his QOTSA cohorts Dean Fertita and Troy Van Leeuwen, Chavez's Matt Sweeney and Arctic Monkeys drummer Matt Sweeney, its safe to say expectations were high.

Expectations were high, but quickly met. Then exceeded. Then blown to smithereens. As the drums beat out the familiar stomp of Lust For Life and the curtain rose it was clear from the start that we were in for one hell of a show. With a simple, but elegant black stage with a white accent down the middle, Iggy came out dancing, jumping and grinding like it was his last show on earth.

The band was in beyond top form and despite their impeccable pedigree, it became very clear by the second song, Sister Midnight, that Homme and company were there only to serve the man of the hour. Not that he has ever needed any help looking good, mind you. His jacket was shed early on and the famous Iggy torso was on full display. The signs of age are there, yes, but we're talking about a man who has the energy of you, me and everyone you know, including that bastard kid of your best friend whom you no longer invite to dinner because he'll bring the little terror that has zero ability to sit still for just two fucking seconds.

The band played for almost two non-stop hours and was the tightest set these fading eyes have ever seen - comprised entirely of songs from Post Pop Depression, The Idiot and Lust For Life, with the only exception being the title theme from the 1984 film, Repo Man. A standout in a set of standouts.

After all these years, Iggy Pop remains a force of nature and a sight to behold. If the rumblings are true, and if this is indeed his last set of live performances, there isn't a better way for the man to go out. I mean this with the utmost sincerity - if you only have plans to see one tour this year, this is without a doubt, the one to see.

 

 

All photos: Kevin Fitzpatrick

 

Setlist

Lust For Life

Sister Midnight

American Valhalla

Sixteen

In The Lobby

Some Weird Sin

Funtime

Tonight

Sunday

German Days

Mass Production

Nightclubbing

The Passenger

China Girl

Encores:

Break Into Your Heart

Fall In Love With Me

Repo Man

Baby

Chocolate Drops

Paraguay

Success

Gardenia

Kevin Fitzpatrick • April 4, 2016

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