April 29, 2017
Helmet finally returned to Australia in 2017 to celebrate their third and was is considered to be their most experimental album Betty from start to finish, which was originally released by Amphetamine Reptile Records as a double 10”.
Betty is built on Helmet’s trademarked hypnotic, earworm, crunching riffs infused breaks galore and based on a solid foundation of pounding, driving drums, but features a broader approach compared to their 1992 major label debut Meantime, with its forays into mastermind Page Hamilton’s indulgences blues and jazz, the latter of which he has a master’s degree in composition in.
Given Hamilton’s musical reach and expertise, it its almost surprising how much Helmet has stuck to its formula with Betty being the only slight derivation, where Hamilton infused the songs with a bit of melody and meandered different territories.
While Helmet live has always been a force to be reckoned with, the dynamic time signature changes, textural diversity and range of tunings the songs of Betty were recorded in along with the band expanding their songwriting approach, playing those songs seemingly poses a challenge the band enjoys as they power through it, with Hamilton mastering the passages that in recorded form have distorted vocals.
Helmet is a not a band of pomp or big (or any) any words: Stoically they plough through their set with the audience of the night, of which the lion’s share has come out of the woodwork and live show retirement, approvingly bopping their heads and celebrating each lick of what has been labeled “thinking man’s metal”.
Apart from Betty in its entirety, the second half of their set Helmet offered renditions of their other hits but also from the newest emission, Dead To the World.
The evening was testament to the timelessness of Helmet’s oeuvre – one that in terms of influences has sent massive waves in both directions.
One would need to flipchart to illustrate how pervasive its influence has been since the mid-90ies: Be it in terms of groove metal for outfits like Pantera and Sepultura, mainstream darlings like Queens of the Stone Age, Tool or even softer bands like Weezer and the Smashing Pumpkins, via hardcore and post-hardcore acts like Quicksand and Orange 9mm, as well as sludge and dirtier calibers like the Californians of –(16)- or Floridians Cavity, as well as the math-metal genre in general have been heavily influenced by Helmet.
Tonight’s show demonstrated in an impressive manner that Helmet’s no-frills approach is still captivating its audience in a live environment.
Photos by KAVV
Vogue X Music Vogue Magazine To say it with the words of the ever so eloquently Marge: “…Greta Garbo and Monroe, Dietrich and DiMaggio, Marlon Brando, Jimmy Dean on ... read more
Thus Let Us Drink Beer – Hops to Home Subscription services can be hit and miss – specifically when it comes to libations. However, beer clubs with subscription models ... read more
Mike Parr: Performances 1971 - 2008 Black Inc. Publishing Mike Parr’s shadow looms large, both on international terrain but specifically on terra australis. Having emerged on his artistic mission ... read more
Water of Life – Souwester Spirits Souwester Spirits intrigued me from the moment I learned about both – the fact that it is located in the Southern corner of ... read more
The Formative Years - Muzak Experimental, EDM, music that evokes a bodily reaction and noise music along with the underground cultures and aesthetics have always fascinated me – an interest ... read more
Looking for the SPB logo? You can download it in a range of styles and colours here:
Click anywhere outside this dialog to close it, or press escape.