Froth & Fury Fest – Gig Review 18th November @ Pirate Life Brewery, Adelaide SA
Froth & Fury Fest
Pirate Life Brewery, Adelaide SA
Saturday 18th November 2023
Featruing: The Butterfly Effect, Suicidal Tendencies, Sunk Loto, Alien Weaponry, Ocean Grove, Redhook, Windwaker, Reliqa, Mirrors, Devilskin, Emergency Rule, Late Night Lies, Mélancolia, Hidden Intent, Freedom Of Fear, Dyssidia, Descend To Acheron, Vapours, Stabbitha & The Knifey Wifeys, Warpath, Suffer The Evenue and many more.
“I associate heavy metal with fantasy because of the tremendous power that the music delivers.” Christopher Lee.
Leave it to one of the most prestigious actors who often performed as a villain to bestow a quote upon the world about heavy metal. Mr Lee gave life to characters such as: Count Dooku in the Star Wars prequel trilogy, Saruman in both The Hobbit and Lord Of The Rings trilogies and he appeared as Count Dracula SEVEN times; the beloved baddie knew power. Furthermore, one doesn’t have to look far to discover evidence of this association being true, Fenriz the drummer of Darkthrone literally has a solo project entitled Isengard.
So the essence of the introduction is “power” and how heavy metal (or music really) fortifies this. The fantasy element could perhaps be a little far-fetched, but in reflection, not too long ago the rest of Australia would have probably considered Adelaide hosting a heavy music festival at a craft brewery that sold-out every year a “fantasy”. Well return to Middle-earth with that delusion, because the blockbuster “Froth & Fury” has more fire than Mount Doom and some of the best ale to celebrate with.
With a very early start, the idea of blastbeats and bludgeoning breakdowns may not have been everyone’s cup of Pirate Life Dilmah Tea Brown Ale (this is just one of the fantastic fusions the brewers have come up with), so pop-punk locals Late Night Lies were responsible for the welcoming notes of the festival. An interesting blend of emo-pop-punk that had the sentimental elements of Mest blended with dashes of easycore moments that New Found Glory pioneered so well. ‘(I Think I Love) Taylor Swift’ was an intriguing addition that fused earlier ballads by The Maine with sprinklings of the poppier side of Sum 41; the track is in fact about loving the Tay Tay although there is undoubtedly a “tongue-in-cheek” theme about it. Nevertheless, Late Night Lies brought the Early Morning Truth to Adelaide that it was time to wake up to festival mode with their punky fun energy.
Vapours opened the Fury Stage and although their self-professed “djenty-deathcore” band description is accurate, there is a lot more to the quartet to enjoy. In a wildly wonderful and weird manner, there is a presence about the four-piece; a ”zest” factor that could find them fitting in a film along the lines of Napoleon Dynamite – but, in a more sensational shock and awe factor. This writer implores the readers to see the Finnish film Heavy Trip to try to comprehend the angle being described – Vapours are talented musically, but also rather terrific. A worthwhile comparison is to moshcore greats Bury Your Dead who used to high-five each other before playing breakdowns, there was a great playfulness with Vapopurs dynamic death metalcore. ‘Parasite’ showcased this sublimely with hints of Bleeding Through, and ‘Reflections’ thickened their smoke with Djent jolts. An acknowledgement of the cherished venue Enigma Bar closing its doors permanently the night before was an emotional tribute and lovingly presented. Thank you Enigma Bar, endlessly.
If Vapours were “playful” then Suffer The Evenue were outright peculiar. Imagine coming across a nu-metalcore band with a vocalist dressed as a member of Reno 911!, dancing as delightfully disconcertingly as Russell Coight over the sounds of funked-up Limp Bizkit. Oddly enough, this isn’t ‘Out Of Style’, it isn’t deranged, it is ‘Re-Arranged’ and this extravaganza had assembled the biggest crowd of the morning. ‘Loose’ was the beer-dousing anthem that kicked the event up 24 gears (or beers?) and of course, this track required vocalist Nicky Sick Socks to wear a gorilla mask. ‘Sick Crnt’ incited a soccer cheer of “Way-oh” that the audience happily contributed to ‘N 2 Gether Now’. If the initiation into the festival had been an easy kick-off, Suffer The Evenue brought the ‘Dad Vibes’ disturbrilliantly.
Emergency Rule changed the tempo from the fraternity kegger to the charming whisky tasting southern BBQ bash sound that is despairingly fading away to an extent. Combine the swampy thump of Maylene And The Sons Of Disaster instructed by the depths of Black Sabbath and coat this with the overwhelming charm of Monster Truck and this almost captures Emergency Rule. ‘The Garden’ was a sludgy-spiritual crusade and then ‘Corporation’ impossibly combined a Tarantino highway film scene with Red Fang’s distinguished distorted groove. Dallas Taylor may have sung “Step Up, I’m On It’ – Adelaide was now living these words.
Extreme metal quintet Descend To Acheron took the sunny BBQ vibe to an “extreme metal vile” exceptionally. ‘The Goddess’ was brutifully bleak and if there are any opportunities for this quintet to tour overseas, possibly with the likes of Imperial Circus Dead Decadence in the dirty recesses of underground venues, it needs to happen. On the Extreme Stage metallic hardcore quartet Warpath were lifting the sands of time back into the upper level of the hourglass with their On Broken Wings inspired viciousness. Featuring songs from practically their entire discography, including favourites off their EP Life Of Regret – the music and performance provoked a passionate strength and a moving response from both the fans and band alike. With the vast difficulties of existence pressuring and dilapidating our lives, Warpath opened a doorway to allow their enthusiasts to bond with them in this anguish. As expressed earlier, heavy music has tremendous power.
Back to the Froth Stage and the first international outfit were seeing Red about the ‘Sweet Release’ of attacking the main arena with their brand of alternative metal. New Zealand’s Devilskin leapt out of their respected skins when given the go ahead with the best entrance being executed by vocalist and wonder woman Jennie Skulander. It is uncommon to see gymnastics at a Beer-fuelled-music festival (in a professional sense anyways), however Ms Skulander cartwheeled to an Olympic level toward the microphone and her front and centre position, it was spectacular. ‘Corrode’ was beyond invigorating and a song that Sevendust wish they had written, ‘Let Me Breathe’ hosted a grand groove throughout its darker radiated energy that Chevelle would have been shaken by; the bellowing scream by Jennie shook the audience to their core. ‘Start A Revolution’ capitalised on all these components with a perfect protest potency – it was so rousing in fact, that the wonder woman decided the large stage wasn’t big enough for the four members and that the crowd needed to contribute from a face-to-face level. This article has discussed the topic of “power”, in all sincerity though, Devilskin had this with extra “prowess”.
Local extreme prog metal quintet Dyssidia encompassed the eccentric with their brilliantly bizarre amalgamation of The Mars Volta, Periphery, Lights For Nero and whatever else could be thrown in to the miraculous mix. The five-piece are mathematical in their compositions and the cuts from their album Costly Signals were marvelled at comprehensively. Frontman Mitch Brackman is amazingly alien during performance, not only with his otherworldly vocal aerobics, but more-so his presence as some sort of Nicholas Cage–Clint Boge-Cat hybrid. It must be seen to be believed.
Gippsland’s Mirrors were in Adelaide to get a job done with absolutely zero weight to their ego, in fact they had no ego at all. The four-piece took to the stage, blasted ‘Beneath The Sand’ and their astonishing authenticity was immeasurable in their delivery. Vocalist Patty Goodman was unshakable with his magic vocal movements from angelically serenading to aggressively screaming over the progressive melodic metalcore backdrop. ‘Leave Them Behind’ gloriously escalated all these characteristics further with hypnotising full-body spins and dreadlock windmills courtesy of bass player Jack Mackin. ‘Cold Sanctuary’ emitted a fascinating Saosin with Invent Animate concoction with tremendous transitions and undoubtedly the quartet had caught the festival’s attention and garnered many new fans from their exhibition.
Full credit must be given to the organisers of the event, as the movement between the three stages was a beereeze; one such complementary attraction was the magnetism of when an act had lured a sizeable audience, the need to discover why was impossible to ignore. Adelaide’s own tech death metal HERoes Freedom Of Fear accomplished this with their set at the Fury Stage. The alley leading to the platform was heaving and this ship sure had an epic voyage. ‘Primordius’ was exhilaratingly euphoric with each musician working in an outstanding orchestral attack while vocalist Jade Monserrat blazingly bewitched the uncountable myriad of onlookers with her frightfully fantastic growls and shrieks. The theatrics of ‘Carpathia’ were incredible to the point of inexplicable and it feels like the global ‘Awakening’ to FoF is now just a matter of time before the five-piece are properly adored worldwide. Case-in-point, the quintet was a feature local heavy outfit to play as a headliner at the inaugural and world class Adelaide guitar festival this year.
At this juncture, the event, bands, and punters were undoubtedly feeling “La(r)ger than life” and a soundtrack was needed to match this vitality. Enter Syndey’s Reliqa and their brand of progressive alt-metal rapcore was, please do not excuse this follow-up Backstreet Boys pun, the “Rock your body” Froth & Fury required. Vocalist Monique Pym is divinely encyclopaedic with her vocal talents, at one point in a single track she could have the marvellous melody and rough rock edge of Sarah Anthony from The Letter Black, then in a breath she could create a sequel rap that exceeded the fun of Hayley Williams’ guest spot on the Set Your Goals track ‘The Few That Remain’. ‘The Bearer Of Bad News’ did all of this and more thanks also to Brandon Lloyd (guitar), Miles Knox (bass) and Shannon Griesberg (drums) who exhibited some adventurous breaks in the song, a near Saidi interlude was rather enthralling especially. ‘Safety’ was the BOUNCE anthem; the concrete ground had become an “inflatable castle floor” for the audience, and it must be noted that the original lineup of Iwrestledabearonce would have been so impressed by this musical execution, they may have believed all Australians were in fact, drop bears. WATCH THIS SPACE.
The alley in front of the Fury stage remained at capacity for Adelaide’s thrash heroes Hidden Intent and deservedly so. Every anecdote of this set was faultless from the timeslot when energies were running high (this was a contender for the most circle pits in the shortest span of time for Froth & Fury), the “Occa” humour and most importantly a great welcoming party for the three-piece who had returned home from Europe and the monstrous Wacken festival. ‘Breaking Point’ earned the band a new title of UnHidden WIntent and if this scribe is permitted to be frank, it feels like these European and Australian festivals are the band’s first ‘Step Into The Light’.
Melbourne’s nu-metalcore genre smashers Windwaker had the strategy to wake the attendees from a delighted daze and knock the wind out of them. ‘Beautiful’ did this poetically – how one may ask? Let this writer list the ingredients: create a pastry base of heavy music that stirs in the deep nu-metal tones of Korn, the electropunk dance of The Prodigy, and a bit of Mudvayne with a metalcore makeover. The topping is a combination of Justin Timberlake pop sensibilities in the voice of Kellin Quinn and a sprinkling of some Crossfaith complexity for good measure. What a delectably devastating dessert these Melburnians serve up and it went down better than Pirate Life’s Dragonfruit IPA. The wind was truly beneath the festival’s wings now.
South Australian Music Award winners for Best Heavy Act 2023 Stabbitha & The Knifey Wifeys are more than a blackened punk’n’roll group, they are THE group that wave that flag to an elite level in Australia. Pagan may have sailed the seas of these sounds first, Stabbitha now have the bigger boat (no apologies for the JAWS reference); ‘Stockyard’ showcases this with its second wave black metal severity but punk rollicking energy. Sass Williams is a triumph as the vocalist, raw, unapologetic, and strong; yet Sass is humorous and a WOMENTOR in that she has a wealth of knowledge to share. This is exemplified by bassist Eb Tonkin who screams with as much vigour and engagement. Mark this four-piece under the “must see” category – Bikini Kill were riveted by them at Lion Arts Factory just months ago.
“You All Make Me Fucking Sick” Mélancolia’s frontman Alex Hill yells at the burgeoning audience as the gothic blackened deathcore greatesque sonic booms start to rattle the streets. ‘God Tongue’ is executed in a beyond eerie, devastating, and nightmarish fashion to a crazed cinematic level. Tim Burton could not dream of a quintet of this calibre, but one would hope that if he were to witness it, he would ask this Victorian band to feature in a future project. ‘The Hands That Tied The Noose’ was a spectacle in a horrorrific magnitude. Bondage, violence, leather costumes of THAT variety, twisted behaviour over some of the heaviest deathcore moments one could imagine – Horrendous or horrendYES? It’s the latter; Cradle Of Filth you may know Cruelty, here is your Beast. Mélancolia are ready to join your madness overseas.
Returning to the Froth stage to see the enigmatic Emmy Mack engaged in the audience offstage, singing along to the single ‘Jabberwocky’ in pure ecstasy is a vision of loveliness. The Sydney ExperiMetal Rap Popcore quartet have had a wild ride since unleashing their debut album Postcard From A Living Hell – overseas with festival appearances? Check (and done prior). Award Nominations? Check. Sold out Australian album tour? Rapped that up. This isn’t just a ‘Minute On Fire’ this is their music on FIRE. ‘Bad Decisions’ was that reaffirmation that as people, we hit low points and that is ok, because we can find our way to our feet again and having a remarkable soundtrack helps that immeasurably. Thank you Redhook for sharing the importance of self-worth through your amazing art.
If it were a weekday, this would be the hours of closing and “knock-offs” and one of the best bands to entertain lavishly are the Melburnians in Ocean Grove. A bit of weird and a hit of wonderful – can one imagine anything more “frothiness”? ‘SEX DOPE GOLD’ was an instantaneous party hymn and the party preacher that is Dale Tanner yelled: “Welcome To The Odd World Baby”! Why isn’t this on a t-shirt yet? The Brit-pop banger ‘California Sun’ wreaked havoc as if Blur were part of the festival, ‘Stratosphere Love’ created chaos as if it were the nu-metal fest “Family Values”, a wall of death comprehensibly ensued. Let’s chuck in some garage punk with ‘BORED’, frequent crowd surfers, a kid even managed to get to the stage and dance along. This is what Ocean Grove do, they elevate enjoyment, EVERY TIME! Would the readers believe they were not headliners?
The theme of tremendous power continued to flourish as New Zealand’s Alien Weaponry ascended onto the Froth Stage and demonstrated this exact sentiment with the Haka. Drummer Henry de Jong became a spiritual warrior when the ceremonial war dance begun, and the vivacity carried through with the entrances of guitarist and vocalist Lewis de Jong and bassist Tūranga Morgan-Edmonds. The capacity crowd was silent in awe until the raging riffs of ‘Raupatu’ commenced and the lunacy then engulfed Pirate Life Brewery. The thrash groove of ‘Holding My Breath’ and soul-stirring topic matter of the lyrics involving the history of the Māori people, as well as the injustices they have faced, enlivened the entire atmosphere. Onlookers were not just animated by the heavy tunes, they were devoted to the message. ‘Blinded’ became the orchestration to a protest gathering and it allured the youth to climb the barrier and be as close to their favourite NZ metal trio. Special thanks to the security for supporting the cause and safely enabling such a breathtaking moment in metal history.
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Gold Coast’s Sunk Loto awoke from their 15-year hiatus rest in 2022. They sold out an entire tour throughout the east coast, they spoke of creating new music and the world seemed ‘Cured’ from the sickness of the alternative metal quartet’s absence.
At the end of August this year, founding member and guitarist Luke McDonald was dismissed from the outfit in a rather unnerving situation; Rohan Stevenson from Melbourne’s instrumental group I Built The Sky was announced as the new axeman and the quartet were in Adelaide for the first time in 18 years to perform their iconic LP Between Birth And Death in full. The irony of the album’s title seemed to repeat in significance; for this jaunt, Sunk Loto were more guided by the statement: “Between Death And Birth” – a rejuvenation, another reintroduction and a reignition. ‘5 Years Of Silence’ boomed as the sun descended and vocalist Jason Brown charged off the stage to scream those sacred words: “You Destroy Me” while SL’s adoring enthusiasts yelled the words back at the invigorated frontman with rhythmic fist pumps. The jigsaw had all fit together supremely and this flow in live performance continued throughout the entire set, with Sean Van Gennip (bass guitar) and Rohan remarkably increasing their energy and presence as the set wore on, ‘Erased’ being climactic and possibly the epitome Sunk Loto live. There is more new music recorded from these four gentlemen to be released, this ‘Lift’ has only just commenced.
“S.T. , S.T. , S.T. , S.T.!” – this chant was deafening; Adelaide were requesting, scratch that, requiring the presence of US skate punk crossover royalty Suicidal Tendencies and the only way to silence this, albeit temporarily was to appear and when the quintet did and boy did they ‘Tap Into Power’. ‘Bring Me Down’ was manic and did the exact opposite of the song’s title. Guitarist Ben Weinman has not missed a beat from his Dillinger Escape Plan tenure, climbing and leaping, stomping and dancing, swinging his axe as if he were decapitating orcs – absurdly it he has become Benjamin Button and reversed in age. Bassist Tye Trujillo stupendously matches this psychotic behaviour and has his father’s smooth yet boxer style vigorous playing (an interlude solo was jaw dropping). 21-year-old drummer Greyson Nekrutman is more than just the percussionist, he is the pulse beat of the quintet and more machine than man. ‘Shot Reagan’ blasted South Australia, ‘Cyco Vision’ was more the “theme song” than the crazed punk performance. Everyone present was viewing the world with these lyrics and it activated frontman Mike Muir to spend most of numerous songs in the depths of the audience ocean; undoubtedly the circle pit escalated in speed. Essentially this was a blur of whirling bodies, chop-dancing and skater attitude that thankfully reverses one’s age to terrific teenage anarchy. Music might be timeless but Suicidal Tendencies just might be ageless.
“The Butterfly Effect” is the idea that miniature, seemingly insignificant events may ultimately result in an occurrence with mightier consequences. 24 years ago, two youthful musicians by the names of Ben Hall (drums) and Kurt Goedhart (guitar) collaborated and pollinated a few ideas which grew to become an adored ‘Consequence’, The Butterfly Effect. Arguably one of the best Australian hard rock creations, the four-piece soared on a global level releasing three LPs which have all been certified “Gold” by the Australian Recording Industry Association. Then the wings were ‘Gone’ and in 2016 ‘The End’ was announced.
A pandemic, the ‘Worlds On Fire’ and perhaps the ‘Signs’ were put in place – 2022 brought upon The Butterfly Effect’s first full-length in 14 years and now Adelaide had its chance to witness this ‘Start Again’.
Although outdoors, the four-piece’s song ‘Room Without A View’ was the perfect description to how crammed the festival had become. What could be seen was a figure sporting a cowboy hat and cloaked in a pink bath robe – the courageously cool Clint Boge began his serenade of South Australia with the ‘Window And The Watcher’. Kurt exploded like fireworks and maintained that combustion the entire time he was home (being onstage) while the ever-cool Glenn Osmond smoothed the turmoil with his lustrous bass lines. Ben however, was schizophrenic with his rhythm, as tender as a misty rain in softer sections, to as volatile as Niagara Falls when TBE compositions implored for it. ‘Always’ could not have been more suiting, the Brisvegas blokes have never been forgotten and hearing that lyric ‘I am with you always’ provided a weightlessness to the adorers who had waited years for this moment (the crowd sing-along was thunderous). Have a wild guess what ‘One Second Of Insanity’ provoked? Exactly that, with a much longer timeframe and also somehow, the cacophonous single subtracted gravity from the atmosphere, sheer brilliance. ‘Wave Of Tides’ rocked the ocean of people with a tidal hurricane and then ‘A Slow Descent’ dragged all present to delightful distorted depths. ‘Perception Twin’ had the power to make the sun almost reappear in the dead of night and almost too perfectly, in both sound and essence, ‘Reach’ was the alternative metal “happily ever after” that had come true.
It was announced that in February it Begins Here all over again, after two decades since that magical LP was released, Adelaide will hear it in full again.
“I associate heavy metal with fantasy because of the tremendous power that the music delivers.”
The fantasy was fulfilled, the power was delivered, “Froth & Fury Festival” was undoubtedly a blockbuster.
Will next year be entitled: “Too Froth Too Furious”?
Gig Review by Will Oakeshott. Insta: @teenwolfwill
