On the 26th of April, We Lost The Sea are hosting a special show with a bunch of friends, bands and fans to come together to pay tribute to a superb person, Chris Torpy, who sadly took his life in March 2012. It is a night for coming together as a community and a local music scene to remember and share some laughs and memories of the person he was and what he was passionate about.
The show will also be a fundraiser for the charity beyondblue who provide support for people who suffer any form of depression and anxiety, empowering all Australians, at any life-stage, to seek help. beyondblue raises awareness, reduces stigma and ensures people have access to the information they need to support recovery, management and resilience.
Not a day goes by that we all don't think about him. To pay tribute to Chris we could think of no better way than to get together a bunch of bands full of people that he loved and who loved him.
There's also a download of some bands that Chris was a part of, tracks that he collaborated on and other bands that wanted to pay tribute to him.
All the set times and things for the gig are on the facebook event page.
Heaps of bands, some featuring members from now dead bands are teaming up with Victoria's Black Jesus, who are also a mix of dead bands, or members who want previous bands dead...
2 DIY venues, heaps of BYO action. Cheap CDs courtesy of Grindhead's distro.
That other guy, who does most of the stuff of Grindhead Records*, has pulled this little beauty out. For those of you who cant make OEF in Victoria this year, here's the alternative.
Cripple Bastards from Italy, first time in Australia. Jig Ai from Czech Republic, I believe their first time in Australia. Both want to impress, caress and distress you. Both known for their past. Both are looked to for the future. I'm rambling.
The Sydney bands are smiled upon by many. Ether Rag being hailed as the best the region has to offer in grind. Dark Horse have been doing some great things with their D-Beat style as well.
It's one of those gigs. Be there or cry about it later.
*you know I co-run the label now, don't you? Just thought I better mention it, in case I start blathering about how awesome a label it is and how it does all these great things for the scene and bands etc. Potential bias and conflict of interest in reporting stuff.
Locked in a seismic, diabolical orgy of earthquake shattering proportions, an exhilarating place where few will gather the courage and strive to tread in perseverance, a place of spilling electronic whirls, spewing hisses and bone-splitting cracks, Always Wrong from American Mavericks - Wolf Eyes - throws you in an barren, oppressive cell of inexplicable sonic torture and throws away the key.
Always Wrong is comprised merely of seven songs and is just under thirty minutes long. But, what they manage to achieve in that short amount of time is purely something that is nothing short of remarkable, whatever opposing, opinionated side you happen to sit with. It's a caustic, deafening achievement. The beauty is that in its confronting assimilation the music produces. To some it may certainly shock and provoke, perhaps only startle and leave you with an acrid distaste - a wonder that you never thought music could ever sound so hideous, but for everyone who is confronted with this embodiment of music they are left with that inseparable, curious imprint. The Cellar exudes this feeling perfectly; A lone, vindictive drunkard awash with fervent emotion, surrounded by ghostly purls of white noise, stands tall at the mount striking down, in sermon, before the intensified roar of blistering guitar splutters and battering bass drum kicks, the superficial and hypocritical value of those grovelling below. Living Stone pretends to imitate something a little softer before it reminds you where you came from and throws you back into the fray. Taking Extremities to the forefront, nothing short of tying rope to your legs and being dragged at high speeds along the tarmac is typical of Broken Order's Aural Onslaught - crushing, distorted cymbals and nauseating, guitar drones which cancel each other out at times from the sheer volume. An industrial, grinding, macabre pleasure that Wolf Eyes have made all their own.
The closing track - Droll/Cut the Dog - with its lamenting, harrowing yet softer melodies of church-like organs acts as a reminder of all the crazed, drunken, ungodly murderous acts that have led to the final act. What just transpired wasn't wrong, and it certainly isn't right - it merely is. Wolf Eyes with Always Wrong have produced a sound of their own, binding them in sacred apothecary, strewn with golden antiquity, and I for one am overjoyed there is a band adventurously prolific making music like this.
The above review was written some time ago by a different man other than myself. He has given me permission to publish this on his behalf. Some minor edits have taken place, including altering of spelling and some minor house keeping issues.
I think he wants his name up here... If so, it's Adrian Johnstone... if not it's Kontoh.
It's been quiet here, I know. I'm kind of sorry, but I've kind of been overseas, Europe actually, if you're interested.
All of those emails about the 2013 grind list are being compiled during the hours when I'm not working, doing Grindhead stuff or getting band things organised. Be patient.
Apologies to Sam for this article.
Samuel Humphreys is an illustrator from Melbourne, Australia who currently styles himself as a highly technical illustrator with exhaustive attention to detail, accuracy and creativity. You can appreciate a bit of that in the drawing shown, or see more at one of the links below.
He has no formal training or qualification, but I see that as much as a bonus as some would see as a negative - sometimes being well learned in a field can limit your ability, depending on the type of person you are. He does have experience in the music industry, having done photographic, illustration and promotional work for bands and record labels, including the notable Red Panda Records.
So go to the websites, have a browse, if you're sitting, maybe ponder the use of line and the significance of space.