Dear Diary: On Location at Dark Mofo (Day Three)

Dark Mofo 2025
Hobart, Tasmania
Diary Entry: Day Three

“For now my mind may paint other landscapes.” – ‘Heavenly Metals’, Cremations, Wesley Eisold, Cold Cave 2009.

Before even witnessing the prolific Wes Eisold perform with his darkwave pop project Cold Cave, a deep-sea dive through the musician’s discography took this writer to the Cremations collection. This 20-track musical assemblage provides a rather comprehensive insight to what Wesley was trying to initially achieve with the post-punk driven venture in its infancy, and ‘Heavenly Metals’ possessed the most significant impact for Day Three of this Dark Mofo assignment.

This song shies away from the synthpop keystone that Mr. Eisold gravitates toward with most of the Cold Cave material. In fact, it is delivered with a spoken-word industrial motif that reflects the music of Lydia Lunch and even Allflaws to a degree. The gloomy poetry and haunting near trip-hop and industrial crossover ultimately chills listeners to the bone, and the lyrical passage quoted above:

“For now my mind may paint other landscapes.”

Flawlessly captured what occurred during this jam-packed festival outing.

A ferry ride to the monumental MONA art museum was the first venture to undertake and studying the beautiful city and landscapes of Hobart from the icy waters was a breathtaking experience in itself. The museum is a remarkable home for astounding artwork of almost the entirety of the spectrum, gathered from all of the world and some of these prodigious pieces date back thousands of years. However, the genuinely fascinating aspect is how the art is interpretated by its observer, and how they emotionally attach their spirit to the designs.

Rather similar to the deciphering of lyrics and musical tones to compositions for an aficionado, right?

The interpretations of art at MONA can cause discomfort, fixation, hypnotism and even alter one’s internal temperature. These reactions are also enhanced by numerous musicians onsite, who deliver a diverse range of soundscapes, whether classical string outfits or even art-punk, depending on the day.

Upon return to the CBD, a quick journey to the Hobart Regatta Lands to witness the stunt performance of Crash Body became priority. Thousands of enthusiasts bombarded the grandstand and accompanying grassland seating area to view an event of truly death-defying nature. Artist Paula Garcia from Brazil undertook a dare-devil enterprise of a an unquestionably unique nature, a fast-paced head on car collision against another stunt driver.

Drawn out over two hours to build the tension, fear and anxiety of a car crash, this was a traumatic experience for the crowd, let alone the artist and stunt driver themselves. After a driving game of “cat and mouse”, the smash took everyone by surprise. Gasps of terror and exhilarated amazement turned to utter silence, only to be broken by one of the car doors opening and the driver waving to the audience signifying they were still in one-piece, unlike their car. Paula Garcia would emerge a few minutes later with a smile and generally unscathed.

The cars will be put on display in Dark Park for festival-goers to observe for a week following, and it is a wonder what their minds’ may paint from viewing this destruction.

‍Cold Cave take the Odeon

“Finally!”

This was the only word to be spoken into the microphone when Wesley Eisold bounced onto the Odeon Theatre stage. There was no “Hello Dark Mofo!” or “Good Evening Hobart!” or even “Let’s Go Australia!” – and for any devotee of the darkwave synthpop project Cold Cave, they knew exactly why.

For over 10 years the Virginian-born Los Angeles resident has been trying to bring Cold Cave to our shores. On two occasions, the tour almost took place, once in 2014 and again last year; of course, none of the planned shows eventuated.

With immeasurable thanks to the Dark Mofo team, this ‘Prayer From Nowhere’ was finally answered in 2025 with a once-off performance in the enchanting city of Hobart. At this long-awaited event, Wes, his wife and synth player Amy Lee, multi-instrumentalist Brian Masek and drummer Ryan McMahon were dead-set on delivering a showcase for the history books. 

While Eisold twirled into madness, the four-piece launched into ‘She Reigns Down’ which blended the synthpop of primitive Ministry, and the bellowing vocal hypnosis of Ian Curtis. Wes then escalated into hyper frontman mode for ‘Shadow Dance’, this entrancing composition followed the opener in dreary darkwave aura faultlessly.

At this point of the review, an exposure of sorts is necessary to reveal. Wesley Eisold is arguably better known for his career in the hardcore world. American Nightmare (also known as Give Up The Ghost) are respected innovators of the emotional hardcore sound; but where Mr. Eisold has rivetingly separated himself from other hardcore vocalists and lyricists though, is with his magically moving poetry. The quintet’s debut album Background Music is a revolutionary monument of the genre, where themes of love and emotional distress are screamed about in passionate artistic flair. Released in 2001, the near 24-minutes of abrasive hardcore punk is not just a venture of fast energy, it is a mind-altering captivation. His work with noisecore maniacs Some Girls is undeniably worth one’s immersion also.

Wesley is also published writer in a vast array of publications and books; incredibly he is even a fashion designer. A truly remarkable attribute to all of this and the inception of Cold Cave, is that it came about because Wes Eisold is unable to play guitar. Unfortunately, this pioneering artist was born without his left hand, so to follow his path of musical creation, he utilised synths and pedals.

And so, Cold Cave was born.

Thankfully, his upbringing in hardcore punk instilled in him an ability to front a band to an astronomical level. There is no denying that Wes already evokes that charismatic complexion of “cool”, but he also energises everyone and everything he touches.

‍‘Blackberries’ captured that spirit impeccably, with a delightful David Bowie dynamic. ‘Glory’ was presented as the paramount prequel to the Robert Smith and CHVRCHES collaboration to ‘How Not To Drown’, and ‘A Little Death To Laugh’ was simply put, sensationally spooky. ‘Youth And Lust’ allowed for Mr. Eisold to really flourish with his vocal prowess – he was truly exemplary in his baritone beauty. The perfect paradox of him actually being, to a degree, hidden as a shadow in the limelight, added a lavishness that was fantastically immeasurable. ‘Confetti’ felt like a long-lost song from The Cure’s Best Of collection – or perhaps it is the track they forgot to write? Then ‘Underworld USA’ followed that articulation, yet substitute in a 1997 David Bowie soundscape; just brilliant.

“How do you think it is going?” Wesley enquired before propelling into ‘Hourglass’, that also deserved to be on the aforementioned greatest songs compilation by The Cure. ‘The Great Pan Is Dead’ embraced that preceding hardcore vivacity, but in a darkwave disco lunacy; honestly this was the HIGHLIGHT. ‘Everlasting’ was then presented as an abstract poppier offspring of Joy Division’s ‘Atmoshpere’.

To introduce the encore, Wesley joked: “At this rate, we will see you in another decade…” The four-piece then conquered the spectators with the spazz-pop new wave hard-hitter ‘Icons Of Summer’. ‘Promised Land’ was to be the wondrous closer, where Mr. Eisold embraced the erraticism of a discoing teenager, bonded with the frenzied dance moves of Ian Curtis over a dazzling New Order composition.

It was all over far too soon, so let’s please ensure that it is “far too soon” rather than “10 years later” for Cold Cave’s return.

To be continued in Day Four...

Words by Will Oakeshott @teenwolfwill