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Recently – recently in this case being the 17th of August – I found myself dragged to a live pub show in Port Adelaide at the Railway Hotel. My mates were pretty keen to go check out a pretty reputable cover band, Malibu Drive. I was resistant at first since of course it was a fairly long drive from the Adelaide Hills to the “Never Tear Us Apart” region of South Australia. However, after a few days of nagging from my mates I agreed to tag-along.
After the first few songs I was glad I did not turn down their offer. I’d never seen Malibu Drive play before but I came to be pleasantly surprised with their performance. Their funky take on popular songs was a pleasant change of pace from a musical perspective – considering the amount of punk, metal and rock shows that I find myself wandering into nowadays. As a cover band the set list had a great variety. The tracks ranged from popular hits like Treasure by Bruno Mars to September by Earth Wind and Fire.
Musically, Malibu Drive were tight and solid. Drummer Simon Possingham was clean and precise. The bassist Sebastian Brook, provided a bass sound that was adhesive and fluent, although in the climax of the songs I found it to be slightly hidden – but that may have just been my personal sound mix programmed into my guitar-focused brain. Vocalist, Philimon Araya, had a fantastic vocal sound with a tone reminiscent of a young Michael Jackson – which, I assure you – is not a comparison I give lightly. Billy Beger on Synth, Keys, Guitar and Vocals, provided a great support in all areas. The guitars – played by John Stoddart and Stuart Smith – had a great funky tone that never ceased to be loved by the crowd. But the saxophone – beautifully executed by Brandon Bartholomeusz – honestly stole the show.
I’ve never been much of a saxophone fanatic. It’s rare in my musical tastes that I will find myself stumbling upon saxophones of any kind. But it worked wonders for the sound of the band. Imagine a stone, smooth but still with a small amount of rough texture remaining on the surface. This stone was the sound of the band. But then the saxophone was added to the mix, filing away the remaining grit, resulting in a flawlessly smooth stone and a flawlessly smooth overtone. It gracefully guided the sound and coaxed the band’s sound into balance.
There was a lot going on on-stage – as a seven piece band that is to be expected. But the sound never felt too busy. Each band member had a role to play in each song and they remained balanced throughout. Which I imagine would be very difficult to control with so many talented players on stage.
As a seven piece band there wasn’t much room on stage. That being said there wasn’t much room in the whole pub. It was packed. I was surprised how large the turnout was for the hotel. It was so full of people I almost lost sight of the band. But surprisingly, the large crowd didn’t affect the mood of the venue at all. Everyone was drinking, dancing, singing and having a grand old time. To be perfectly honest, I was as well. The funky beat of the songs had my right leg bouncing uncontrollably all night long.
The set list was perfectly crafted containing songs like a funky take on Treasure by Bruno Mars, a beautifully executed rendition of Dancing in the Moonlight as well as the crowd pleaser Africa by Toto. And that was just the first set. Each song was familiar, but Malibu Drive did an excellent job of putting their own little spin on it. It was refreshing and new while still paying homage to some ambitious classics. The full set list can be found below.
All in all Malibu Drive were refreshing. I don’t like to gloss up bands too much in my reviews. I feel as if every band deserves its fair share of criticism. But after their performance at the Railway Hotel, I have come to the conclusion that Malibu Drive are undeniably excellent. They are a refreshing cover band, with great musical talent and a fantastic take on some excellently chosen songs. It was truly memorable and I look forward to their next show with gusto.
SET LIST: (2 HOURS)
Treasure - Bruno Mars Dancing in the Moonlight - Toploader December 1963 - The Four Seasons Easy - The Commodores Movin Out - Billy Joel Burning Love - Elvis Presley Sunday Morning - Maroon 5 Redbone - Childish Gambino Africa - Toto
*BREAK*
Move Your Feet - Junior Senior Give it Up - KC & The Sunshine Band PYT - Michael Jackson Am I Wrong - Anderson .Paak Get Down on It - Kool & The Gang Superstition - Stevie Wonder Valerie - Mark Ronson, Amy Winehouse Escape - Rupert Holmes Eagle Rock - Daddy Cool Are You Gonna 25 or 6 to 4 -
*BREAK*
Finesse - Whip It - Rock With You - Groove in the Heart - Hey Ya - Trouble with Us - Baby Come Back - Flash Light - Blame it on the Boogie - September - Earth, Wind and Fire
Over the last few years I have become increasingly more interested in the heavier metal genres. My musical adventures began with bands such as Led Zeppelin, Black Sabbath, Iron Maiden and Motorhead. All bands that – in their own eras – were considered “heavy-metal” bands. But times have certainly changed. To the modern headbanger, these bands are more “classic-rock” than anything else. And after spending the past year or two exploring the vast reaches of modern metal genres, I’d have to agree with that statement.
Genres like metal-core, death metal and progressive metal have become the new norm in the metal community. However, metal-core in particular has become an extremely popular sub-genre, from upcoming bands such as Heartline to the big boys like Beartooth, As I Lay Dying, Parkway Drive, The Word Alive, Bring Me The Horizon, Polaris and so many more. The amount of bands producing metal-core music has never been higher. So with all this variety and so much to listen to, why is Heartline’s new EP “Essence” worth our time?
To be perfectly honest when I heard of this EP’s release I was skeptical at best – as I am with most new releases. However, after listening through a few times, I was pleasantly surprised with Heartline’s performance. For those of you who have no idea who Heartline are, let me give you a quick breakdown. Forming in early 2019, Heartline are relatively new to the Adelaide metal scene. Since March of 2019 Heartline have been active, playing shows all around Adelaide’s metropolis – including venues like the Jive Bar and the Crown and Anchor Hotel. Playing alongside bands like Redhook, Windwaker, Pridelands and The Brave just to name a few.
So, now that we’ve got that out of the way, let’s get into this EP.
Essence as a whole, is a solid first release for Heartline – aside from their first single, “Frail” released in February of 2019. The ambiance in the tracks is captivating. Nevenko Sarunic’s bass guitar is heavy and crushing. Fraser Stiles’ guitar is crisp yet wide with an excellent tone – as all metal guitars should be. In all music – whether it be jazz or metal – the drums can make it or break it for the sound of a band. This is especially true for metal-core. Drum performances in this genre are often hit-or-miss and occasionally they can sound messy or confusing. That is not the case here. Michael Cooper’s drum performances in this EP are excellent. The hits are tight and calculated, and the dynamics are very clearly controlled – even in the most intense moments of the tracks. The drums guide the songs and blend beautifully with Luke Taylor’s vocals, they never feel overpowering, confusing or unnecessary. They provide a great balance to the sound of the EP.
Now to the vocals. Luke Taylor’s performance in this EP is eye opening. Knowing Luke personally and hearing his voice in casual conversation, I would have never assumed he was a metal artist. But to everyone’s surprise including my own, Luke has an excellent vocal tone perfectly suited to the metal-core genre. His clean tone has that classic metal-core sound reminiscent of vocalists such as Beartooth’s Caleb Shomo and Bring Me The Horizon’s Oliver Sykes. But it’s in his screaming where my surprise truly came to fruition. His screams carry an emotional validity that lifts each track. They take you to a place of emotional relevance in the songs and – when coupled with the band – make each track memorable and purposeful in the ears of the listener.
After the prelude track, “Return”, the EP opens with it’s title track, “Essence”. The band hits hard at the start of the track and opens the EP with exactly the kind of aggression that fuels classic metal-core. Luke Taylor’s vocals are excellent in this song. The vocal melody carries a tension and anger throughout that pulls you kicking and screaming into the climax of the song. It’s hard not to head-bang to this one, it’s easily my favourite track on the EP. But after really listening to the lyrics, I began to see the underlying message in the song.
"As you enter that final mile, There's a mother, And there's a father, About to lose a child."
It’s a tragic story about suicide, particularly it seems, teen suicide. But not from the perspective of the teenager. But instead, from the perspective of a witness. A witness to the descent of the teenager into a place of depression and suicidal thoughts. Which makes the song all the more impactful in the vocals and melody. The band carries the tension in the track and gradually moves the melody between periods of fast paced aggression and ambient tension. All the while the vocals conveying the story and holding a majority of the emotional weight.
"You're looking for a fix, A bottle's burning kiss, And a razor to the wrist, They just make a mortal mix."
"Take a second take a moment just to think, It's you they're gonna miss, It's you they're gonna miss, When they have to bury you in a ditch."
From anger to sadness, Luke’s vocals are compelling. A story of the witness desperately trying to convince the teenager to walk a different path. To find another way. But to no avail. It’s a song of grief and frustration. And Heartline have executed it perfectly.
The second track on the EP exudes frustration in every note. “Twenty Two” is fast, aggressive and vocally intense which only reflects in the lyrics. It’s a story of internal crisis. A person conflicted inside, with two voices fighting for control. The story is reminiscent of symptoms from those afflicted with social anxiety, split personalities or even schizophrenia.
“A cleft mentality divides all sanity, Opposing voices questioning my worth, A morbid irony is isolating, If they succeed there’ll be nothing left of me.”
“There’s two of me but the other is not seen, And I should not believe what he’s telling me, But how do I tell the difference between, What is true and what shit he’s conjuring.”
It’s a cry out for help to overcome this battle inside the mind of the afflicted and to find some form of control. It’s written well and suits the fast pace of the band perfectly. The vocals are sometimes messy in this track. But that’s the point, it’s not meant to be perfect. That imperfection and struggle for control reflects the lyrics, which is something that is not often seen in young bands.
The third track on the EP, “Weightless” is another one of my favourite tracks. The melody and ambiance in the song create a beautiful sound. The drums are quiet through a majority of the song, which only assists the lower-dynamic of the track. Fraser Stiles’ lead guitar provides an eerie yet relaxing atmosphere.
After two hard hitting openers, “Weightless” provides an excellent break in the action while still maintaining enough energy and emotion to keep the listener engaged. It’s a progressive song, slowly building over the five minute track to a climax unlike anything else on the EP. The vocals truly steal the show in this song. Luke Taylor’s performance is never more spot on than in the climax of the song, slightly altering the vocal melody to provide nuance while still pushing the message of the lyrics.
"We lose our way, We lose our place, We're all the same, we're all afraid, Just searching for that something."
"... We lose our way, We lose our place, But in the end, We'll be okay."
To me, “Weightless” is a song about humanity. No matter our background, no matter our upbringing, no matter our environment. We’re all the same. We’re all living in this world together, all simultaneously searching for something to fill our lives and give us a sense of meaning. We’re all afraid that we won’t make it, and we all get lost along the way. But in the end, we’ll be okay. The lyrics hit hard but the message is profound and Heartline communicates it with a truly beautiful song.
The fifth song on the EP, “Covert” was released a few months prior to this EP in June of 2019. “Covert” was the pre-release single to “Essence” and gave us a sneak peek into what was to come. The song is truly metal-core. The riff is fast, the drums are aggressive, the bass is strong and the vocals are violent. It’s full of frustration and anger. And the lyrics only reflect those emotions.
"Skeletons in my closet, I should set them free, But they hold the key."
"... Eventually my path will be seen clearly, Everything will be the way it should be, Until then close to my heart I'll keep, What causes me this grief."
“Covert” is a song about deceit. He’s holding in the truth, living with skeletons in his closet. He knows he should let them out, tell the truth and confess. But that deceit controls him now. He knows that eventually this truth will come to the surface. But until then, he’s keeping his cards very close to his chest – just as all of us would.
The final track on the EP, “Mirror” was a difficult song to review. It mixes a lot of dynamics together in a way that I rarely encounter. It was a difficult beast to wrangle to be sure. But after listening a few more times I was able to piece things together. The song starts with an ambiance similar to, “Weightless”. Lower dynamics driven by relaxing guitar and soft vocals. This moves into the chorus. Easy to follow and melodic. Then the rap section enters. At first I didn’t know what to make of this section. It seems to come out of nowhere and can be hard to digest for a listener like myself that isn’t use to rap vocals in metal music. It was difficult to get use to and was slightly confusing. But with my predilections aside the message of this song is relatively straight forward.
"I saw the shades, Of blue in your eyes, Flicker and fade, Wash out and die."
"This new grey is not dull, Nor is it transparent, But they tell a story, Desperate, so desperate."
In my eyes, “Mirror” reflects the journey of depression. Specifically, in the eyes of a loved one. It’s a cry for change. A plea for the happiness lost in that certain someone to return.
"So give me something to hold, Something that stops them from leaving, Show me the shades, The shades, the shades that I've been missing, Please give me something that stops them, From leaving."
As a metal-core fan I was pleasantly surprised with the quality of this EP. Heartline is a young band, with none of it’s members breaching twenty-years-old. But despite the age of both the band and it’s members, Heartline have an excellent way of crafting their songs. From hard-hitting metal-core savagery to beautifully written, lower dynamic tracks, the “Essence” EP has something for every breed of modern headbanger.
With stories of social anxiety, depression and suicide, on the surface “Essence” is an arduous lyrical adventure. However, Heartline have produced their songs perfectly, to both communicate a deep message in their songs and entertain their listeners. The drums are crisp, precise and methodical. The guitars are wide, heavy and provide excellent tone and ambiance. And the vocals take all of it to another level. Heartline has only scratched the surface of their potential with the “Essence” EP. I’m hooked and it doesn’t seem like that’s gonna change any time soon.
If someone was to come up to me on the street tomorrow, and randomly ask, “What’s your favourite band?” I wouldn’t struggle for an answer. Recently, Nothing But Thieves has become my primary source of musical relief, whether it be playing guitar at home or numbing my brain on painfully long car trips. I’ve been absorbing their music so frequently that can I almost permanently hear Conor Mason’s vocals in my day to day life.
For those of you who have no idea who I am talking about, Nothing But Thieves are an English alternative rock band formed in 2012. They have released two albums, their self-titled album in 2015 and their “Broken Machine” album in 2017 – along with multiple hit singles.
As a whole this album is spectacular. Often within albums there are many great songs, but there are also songs known as “album fillers”. Although they are still good quality songs, they lack the memorability that the more powerful tracks contain. There are no album fillers in this record. Each song contains something different that makes it memorable, which consequently results in an album where no song feels out of place. From the powerful riff and vocals in, “I Was Just a Kid”, to the soft melody of, “Sorry” the record contains a great variety of sounds. But to me this album is all about the story.
Upon diving into the lyrics of each track, I discovered a beautiful, tragic, desperate, relevant awakening story. And each song only adds another layer to the narrative.
“I Was Just a Kid” is a story of a young boy struggling through the journey of understanding religion. It highlights his desperate attempts to find something to believe in and the conflicts he faces in his mind.
“Amsterdam” is like a plea for change. A frustration regarding the state of the world, the state of people and the descent of our society into pseudo-communication verging on interpersonal silence.
“Sorry” is a beautiful message to a lover. It speaks of a friction or struggle in a relationship and sounds almost like an apology for its downfall.
“Broken Machine” highlights the story of a broken man and the adversity he faces attempting to put himself back together. It’s a story about hitting rock bottom, being broken and being unable to recover.
“Live Like Animals” sounds like a revelation about the world we live in and the state of our society. The line, “And all the kids are opening their eyes,” screams the notion of rebellion and gives insight into the near societal revolution seen in the modern youth.
“Soda” seems to me like a song about self-loathing and social anxiety. Which is particularly evident in the line, “I don’t wanna be myself, just wanna be someone else.”
“I’m Not Made By Design” is another track on the record that references Conor Mason’s journey with religion. The song protests religion and everything that comes with it. It’s a public announcement that he’s not, “made by design” and is, “no celestial toy.”
“Particles” is a moving song which contains a lot of references to drugs and self-medication and the effect of these habits on a relationship. It speaks about the issues these addictions have and how they drive others away. But it’s also a promise. A promise that if she wants him to rearrange his particles and change his lifestyle, he will do it for her. It’s a dysfunctional love story, and its written beautifully.
“Get Better” is another song about self-loathing. But this track makes a lot of references to a relationship that his lifestyle is slowly destroying. Although the lifestyle is wrong and its crippling their relationship, he is desperately trying to dig out of the hole for her. It’s lyrically very similar to particles.
“Hell, Yeah” is yet another song about religion. It’s a story about what Conor believes Hell would be like and how much he wants to go there.
“Afterlife” references both religion and relationships. This track seems to me like a story about how he is terrified of the thought of an afterlife. Simply because of the fact that if there is one, he will have to endure the pain of living again. But, worst of all, living without the one that he loves.
“Reset Me” is very similar to “Live Like Animals” from a story perspective. It references the society we live in and the state of the world. But instead of just observing the problems he sees – as he does in “Live Like Animals” – this song speaks about his wish to reset the world. He wants a change, before the whole world falls apart.
“Number 13” – the final track on the album – talks about a certain woman called, “Number 13”. The lyrics reference how great of a time he has had with this “Number 13” and how much she excites him. It’s a very sexual song.
With all of that said, this album has a beautiful but relevant overarching story. It’s about the world, our society, our religions, our moral dilemmas and most importantly it’s about us. It’s about how we live and breathe and love and hate. But it’s also about how we struggle, how we learn, how we form our own opinions and how we grow. It’s a story of the condition of our world, and how we made it this way.
Conor Mason’s vocals are astoundingly flawless. The guitars are loud, violent and melodic. The bass is adhesive and wide. The drums are fast, punishing and precise. And the story is perfect. To me the album is flawless. It’s in my top ten and it’s not going anywhere for a while.
It’s safe to say that Metallica is one of the most successful metal bands in recent memory. I doubt that anyone in the comment section will refute that statement, but I also doubt that anyone who does, has much to go on. Metallica’s first three albums: “Kill ‘Em All”, “Ride the Lightning” and “Master of Puppets” quickly transformed the young, rebellious band into a trash metal icon and a household name. There’s no arguing Metallica’s success.
While writing this review I was staggered to discover just how many awards Metallica have received for their music. From their first three albums alone they received three Grammy Awards out of six nominations. And that’s only three out of their eleven released albums. All evidence to the contrary; Metallica is undeniably a legendary band.
So I found myself revisiting their collection recently. And surprise, surprise, I again became obsessed with the world of Metallica. But of all the albums I have come to love as a Metallica fan, I was surprisingly drawn to their 1988 album, “…And Justice For All”. But one particular song – no pun intended – found itself unable to escape my grasp: “One“.
Don’t confuse my obsession with any kind of distaste for the rest of the album. “…And Justice For All” is an incredible album in itself – despite it’s lack of bass. It was the perfect album for Metallica to produce in their environment at the time. With the loss of their bassist Cliff Burton just two years prior, they were in a state of grief. This album carries that grief. Along with their anger, despair, frustration and pain. It was exactly what the band needed to bridge the gap between Cliff and their new bassist, Jason Newsted.
But enough about the album as a whole. Let’s talk about “One.” Winning the Grammy Award for “Best Metal Performance” in 1990 this track is a fantastic example of what this album has to offer. Every time I listen to the song I am taken by surprise in one way or another. Recently the intro to the song has left me in a state of unshakable amazement. It is unforgettable and paints an immediate picture. The ambient sounds of distant machine guns firing, muffled explosions, bullets flying by and soldiers barking and screaming create an immediate impact on your senses. Listening with stereo headphones – likely at a higher volume level than recommended for a healthy eardrum -only enhanced my immersion. I couldn’t help but imagine the muddy trenches of World War I, the forests of Vietnam and the fog of war often depicted in movies.
Then the guitar enters. James Hetfield’s clean intro immediately sets the tone for this song. Depression, despair and anger are the roots of the melody. Hetfield makes that abundantly clear from the first bar. The lyrics and guitar parts carry the emotional weight of this song, with Lars providing the backbone through a majority of the verse and chorus. James’ guitar tone is harrowing, simple and sad. It sets the stage, and Kirk Hammett’s lead sound only helps to accentuate the flow of the melody, even before the first lyrics emerge from the mist.
The verse of this song is outstanding. The simple melody from the intro carries on throughout the verse as Hetfield softly sings the first lines of the song.
"I can't remember anything, Can't tell if this is true or dream, Deep down inside I feel the scream, This terrible silence stops me."
"Now that the war is through with me, I'm waking up, I cannot see, That there is not much left of me, Nothing is real but pain now."
This song is about a wounded soldier. The soldier stepped on a landmine on a battlefield and is now critically injured in a hospital, his arms and legs blown off. He is blind and unable to speak or move. Each lyric is a line of his thoughts, his pain, his struggle and his cries for help. His life is now only pain and suffering. He is desperate. That desperation leads to anger, and that anger explodes in the chorus.
The chorus is a stand-out, there’s no doubt about that. The transition from the clean, depressing verse, into the angry, distorted chorus is beautifully executed and occurs multiple times throughout the song. The transition from verse to chorus in this song is like a burst of anger. The desperation of the soldier festers during the verse until it suddenly explodes in the chorus, creating a fantastic rise and fall structure.
"Hold my breath as I wish for death, Oh please, God, wake me (help me)."
The tonal changes in the verse and chorus fight for control, as the anger of the soldier rises and falls. This structure continues throughout the song, until the song arrives at it’s most exhilarating stage. The breakdown…
This is where the angry, distorted tone of the chorus takes over, leaving the verses behind. Lars Ulrich’s double kick pattern, coupled with James’ and Kirk’s chugging prowess, fills the song with rage. It’s these kind of moments that will give even the most experienced headbangers a sore neck. And then the vocals hit.
"Darkness imprisoning me, All that I see, Absolute horror, I cannot live, I cannot die, Trapped in myself, Body my holding cell."
"Landmine has taken my sight, Taken my speech, Taken my hearing, Taken my arms, Taken my legs, Taken my soul, Left me with life in hell."
The soldier has reached his breaking point. He is no longer desperate, he is no longer sad. He is enraged, furious and violent. And so is the song. The climax of this song masterfully manifests every emotion. And it’s addictive. But just when you think it can’t get any better, Kirk erupts. Kirk Hammett’s lead guitar work is masterful, and supports the aggressive climax of the song perfectly, with a haunting lead tone filled with rage and desperation.
This song is addictive. It’s an anti-war song filled with emotions. It is beautifully crafted, excellently written and contains a truly moving story. I am addicted. God help me.
“Learn to Fly” by the Foo Fighters is a masterpiece. Now I know what you’re thinking. Masterpiece (aside from genius) is easily one of the most overly used words in the English language and is often placed in the most controversial of places. But before you tear into me in the comments and call me a hack, let me explain myself.
The Foo Fighters are a household name for a reason. They have released nine albums. With four of these albums being awarded Best Rock Album of the Year. The Foos have also been awarded with twelve Grammy Awards out of 25 nominations and have been renowned by critics as one of the best live performing bands in the world. All in all, they’re a pretty damn good band.
So now that we’re all clear on the fact that the Foo Fighters are world class. Let’s talk about their song, “Learn To Fly“.
Off of their 1999 album, “There Is Nothing Left To Lose“, Learn to Fly was nominated for Best Rock Performance by a Duo or Group with Vocal at the Grammy Awards and won a Grammy Award for the Best Short Form Music Video. So it’s fair to say that this song is pretty well acclaimed. But why is it so damn good?
To me it’s all to do with the lyrics. Don’t get me wrong, the song is amazing in its own right. Even with the vocals ripped from the song the melody and sound of Dave Grohl’s guitar, coupled with the the drumming prowess of Taylor Hawkins and not to mention the rhythmic brilliance of Nate Mendel’s incredible bass lines, balance the song beautifully and provide the song with a great foundation. But the lyrics are without a doubt what make this song a masterpiece.
To me this song is about Dave’s life. But not about his successes, but instead this song is about his struggles. From the first verse this song stands out to me as a story of constant friction.
"Run and tell all of the angels, This could take all night, Think I need a devil to help me get things right."
It sounds like a call for help. He doesn’t know what he’s doing. He’s running out of options and he’s ready to resort to terrible things to figure it all out. He can’t get off the ground no matter how hard he tries.
The chorus of this song fills me with chills. The whole band elevates the track to an uplifting sound and melodically builds to a plateau normally coupled with joyful or inspiring lyrics. But in this instance the lyrics conflict with the melody. And it is done beautifully. It creates a unique separation between the melody and the lyrics.
"I'm looking to the sky to save me, Looking for a sign of life, Looking for something to help me burn out bright, I'm looking for a complication, Looking cause I'm tired of trying, Make my way back home when I learn to fly."
This separation between the lyrics and the melody, keeps the meaning of the lyrics hidden behind the inspiring sound of the song. This in-turn highlights the meaning of the song. Those around him don’t notice or don’t understand his struggle. They don’t see his desperate attempts to fly.
To me this is a reflection of our human journey. We all struggle, we all suffer in ways overlooked by the rest of society. We’re all kids, forever adjusting and adapting to the journey of life. We suffer in silence, and we learn to fly as best we can.
Riff Reflection 