For fans of Brisbane’s music scene and the rock and roll renaissance it has undergone in the last five odd years, tonight, on perhaps its most sacred ground in the newly-rescued Tivoli, is the Holy Grail. It’s the very first night of Violent Soho‘s completely sold-out-like-hotcakes nationwide WACO tour, accompanied by not just their contemporaries but their very best mates in DZ Deathrays and Dune Rats along for the rollercoaster ride.
For perspective; this is Brisbane’s All-Star Pro Bowl Dream Team lineup, playing the first date of their biggest tour in history to a sardine tin sellout crowd at The Tivoli on a Tuesday night to a sweaty, rowdy crowd of young Brisbane-ites who have spent their formative years blasting their eardrums to smithereens with all or some combination of them.
We’ve hit peak motherfucking Brisbane to put it simply.
https://www.youtube.com/watch?v=smNb29qKndE
Walking in I wasn’t aware that Novocastrian splatter punk good time garage duo The Gooch Palms were also on this bill and it is one of the more pleasant surprises to see Leroy and Kat doing a bang-up job warming up the already huge crowd with their old time rock and roll noise and good-natured banter. As far as opening acts go, you couldn’t ask for one much better at breaking the ice than The Gooch Palms on any given night.
Credit to the bands and everyone backstage for fucking exactly zero spiders here tonight either, things are moving that lightning quick and efficiently there’s barely enough time to line up for a beer in between sets. Dunies are up next with You Give Love A Bad Name as their entrance music and their unbridled energy not so much raising the curtain as setting it ablaze.
Dalai Lama Big Banana Marijuana, Fuck It and Funny Guy all cop an absolute belting with the front of the stage seething with bodies. There’s a wall of death to commemorate the opening strains of Red Light Green Light and they road test an untitled new song on us that goes over like gangbusters. Bassist Brett singlehandedly wins the ‘I Think He Might Be Having A Seizure’ award for excellence in the field of onstage energy. How he played bass with that much polish despite treating the stage like a padded cell is a testament to his musicianship.
They throw in a cover of The Violent Femmes Blister In The Sun with most of the words replaced with gibberish, the crowd still loving every second of it. Each of the boys takes a hefty swig from a cask of Coolabah’s finest before tossing the remains out into the crowd, where it gets pounced on like hyenas on a wounded antelope before being thrown around like the most Australian beach ball of all time.
Superman cops the biggest cheer thus far but it’s very soon eclipsed by the roar and titular chants preceding Dunies’ latest single Bullshit, the crowd screaming every word despite the fact that the song was officially released not even a week ago. It’s something that has to be wonderfully encouraging for the Dune Rats boys as they work on their next record.
https://www.youtube.com/watch?v=qNwWzBXIycQ
DZ Deathrays are onstage before you can say Black Rat and they proceed to turn the moshpit into a human blender that I’m all too happy to be caught in. It’s been far too long since I’ve seen DZ’s play as surprise entrants at Splendour In The Grass last year and it’s exhilarating to be reintroduced to live face-melters of old like The Mess Up and an electrifying No Sleep.
Some small, shameful part of me had somehow forgotten that Reflective Skull existed as a song, so it was a delight to hear it’s klaxon riffs bellow through the Tivoli, DZ’s going all the way in on it and seemingly trying to make sure those of us up the front get stomped into the floor.
Like Dune Rats before them, it’s a newie in the ferocious Blood On My Leather making the top of the highlight reel. It is an absolute belter of the highest order and its first live rendition I’ve had the chance to hear did not disappoint in the slightest, half the crowd hurtling themselves into each other without a given fuck in sight, the other half throwing down every bar right along with Shane Parsons (some opting for both).
By the time they’ve thoroughly ripped through a set-closing Gina Works At Hearts, DZ Deathrays have proven above and beyond tonight they’re perhaps one of the best pure noisemakers in the country at the moment and I feel physically spent having moshed along to every one of their tunes.
For the smallest of whiles there I’m also ever so slightly unsure if this crowd, already battered and bruised beyond belief, is going to make it through the headline act.
https://www.youtube.com/watch?v=f6jLfL_g4w0
Fifteen minutes later the lights go out and a rumbling starts. The opening strains to WACO kickoff How To Taste jangle out across a bracing for impact crowd before the curtain drops with a flourish and Violent Soho are there thrashing out in front of them.
I was so very woefully, shamefully off about this crowd’s ability to last.
Bedlam that’s up there with the best the Tiv has ever seen (certainly some of the best I’ve ever seen in my many ventures there) is the best way to describe it from the inside. From the front, the physical moshpit stretches about as far back as it can get, the whole bottom level just a whirlpool of limbs.
New tracks from WACO blend seamlessly with the old, Viceroy going off like a frog in a sock next to a throwback Neighbour Neighbour early, So Sentimental, Fur Eyes and Saramona Said providing very brief opportunities in between for breath-catching (but mostly more moshing), Evergreen, Blanket and Dope Calypso absolutely crushing in their magnitude. There are multiple circle pits throughout and barely a moment goes by without someone being launched straight over your head. Like most Tivoli gigs though, the crowd have each other’s backs wholeheartedly at all times.
The whole set builds up like a tidal wave and when it hits its zenith and comes crashing down there may be no bigger set-closing knockout combination than the thunderous one-two of Like Soda and a Covered In Chrome that threatens to level the place. Violent Soho leave every last shred of themselves onstage and the crowd know it and love them for it.
And just like that, night one of the WACO tour is in the books and everyone departs into the night. Most, including myself, look like they’ve been caught in some kind of monsoonal weather but it’s actually just a liberal coating of sweat, both their own and belonging to probably several hundred other punters as well.
https://www.youtube.com/watch?v=DwPtaHTABy8
When those punters talk about some of the best shows they’ve ever witnessed in Brisbane, tonight (and without a doubt Wednesday and Friday night’s also sold out shows) should be right up there. To have three of the best bands ever to come out of this city, in their prime and truly representative of the new era, playing triumphantly at home on such an institutional stage like The Tivoli?
Tonight was so Brisbane you could tell people you saw Wally Lewis crowdsurfing past you doing a shoey and they’d probably believe you. Shit, I was there and I can’t even rule out that that didn’t happen.
Buckle up, rest of Australia. The WACO tour is coming and you’d better be ready.
Brisbane-via-Bundaberg noise lords DZ Deathrays are no strangers when it comes to outrageously good music videos. The Mess Up was a memorable two-man experiment in shitfacery while No Sleep took Paul Simon‘s You Can Call Me All and substituted Chevy Chase for Arj Barker (and penny whistles for face-melting riffs).
Having just released another absolute belter a couple of weeks ago in the none-more-metal Blood On My Leather, we just knew that with a title and a wall of noise like that we were in for something special. And boy have they delivered the debaucherous goods today.
https://www.youtube.com/watch?v=f6jLfL_g4w0
Directed by Melbourne film-maker Prad Sen, it’s as loose as you’d expect by now. The aforementioned Barker is here in his true form of Satan, inviting himself over to the DZ Deathpad to sink some tinnies, fire off a few hot ones and raise some general hell.
Arj Satan is that mate in every group who treats a casual night out like its a Mad Monday. The DZs watch Lucifarj shoot hoops over a couple of nuns (whose lateral quickness on defense left a lot to be desired), before ending up at their local and just happening to run into fellow noisemakers Dune Rats knocking back a few in peace. A few too many cocktails, darts and a spiked drink later and everyone’s lives are ruined as Satan disappears cackling into the night. The ‘where are they now’ postscript ending three minutes of awesome.
You’ll be able to catch both DZ Deathrays and Dune Rats as they embark on the mother of all tours with fellow Brisbane rock royalty Violent Soho on the latter’s WACO tour of Australia when it kicks off in May on these dates:
Fri, May 13: The Tivoli, Brisbane
Sat, May 14: The Forum, Melbourne
Thur, May 19: Thebarton Theatre, Adelaide (all ages)
Fri, May 20: Metro City, Perth
Fri, May 27: Enmore Theatre, Sydney (all ages)
Presale tickets are done and dusted but the general public can buy them at violentsoho.com
You’ll also catch DZ Deathrays playing this year’s Groovin’ The Moo on these dates:
This morning, unforeseeable illness has compelled the UK act Catfish and the Bottlemen to cancel their appearances at Splendour in the Grass (including all Aussie headline shows) and Fuji Rock Festival in Japan. The band announced the cancellation on Facebook with a statement that reads:
“It is with huge regret that, due [to] illness in the band and crew, Catfish and the Bottlemen will not be playing their planned shows this week in Australia and Japan; including Splendour in the Grass and Fuji Rocks festivals. The band are obviously absolutely devastated not to be making the trip and hope fans will understand. For the band’s headline shows in Melbourne and Sydney, please contact your point of purchase for refund details”.
But don’t be too sad. According to Triple J, the Brisbane rock duo DZ Deathrays have been confirmed as Catfish’s replacement. They will be performing at the Amphitheatre on Friday at 3.15pm. Get excited. They have been tempting and teasing us with talk of demos for a new album. Anyone who has seen DZ live know that it’s a sight to behold, so we don’t think it’s that big a loss.
Do yourself a favour and watch this:
See. Mummy was right. Things do turn out for the best.
Words by Greg Mackenzie.
DZ Deathrays‘ Get Rich or Drunk Tryin’ tour wrapped up this weekend with two Brissy gigs and an appearance at Wollongong’s Farmer and the Owl festival. Punters who caught the dance-punk duo on Friday night at The Brightside were also treated to some primo support from Hockey Dad, and American trash-blues band, Bass Drum of Death.
Not quite matching the bigger acts in loudness or ferocity, Hockey Dad didn’t quite fit the hard rock bill of the night. Conjuring up a sound not dissimilar to Millions or a myriad of other indie-rock bands coming out of Australia’s suburbs, Hockey Dad aren’t entirely noteworthy. But they did make a pleasant enough start to the night before things turned more aggressive in the form of Bass Drum of Death.
Songs from BDoD’s earliest LP made for some thrashy, discordant fun, but understandably they drew on 2014’s, Rip This, for most of the set. Since their inception, BDoD have tightened up their sound to be less garage, and more refined, hitting home in their latest album with bigger riffs and sing-along-able choruses. It’s a sound that DZ fans should be familiar with, whether or not their tastes agree with the trash undertones that BDoD have retained. At best, it shows strong progression from the band, but you can’t help but feel they’re a little caught between their original sound (one they did extremely well) and their not quite executed aspirations to be the next FIDLAR.
Buzzsaw riffs, danceable hooks, fast paced drums, and aggressive vocals, DZ Deathrays are Brisbane’s Death From Above 1979, combining punk with dance music aesthetics. Two time ARIA winners for Best Hard Rock/Heavy Metal Album, the duo boast a huge repertoire of quality tracks. With DZ classics like Dollar Chills and Teenage Kickstarts, songs from 2012’s Bloodstreams thoroughly suited those in the audience prone to headbanging, while last year’s Black Rat features more danceable tracks.
Joining Shane Parsons (vocals/guitar) and Simon Ridley (drums) were an additional two musicians who added extra thump to the already electric pair. The headliners were also accompanied by a fully hectic, sick brah, light display. Peak way through favourites like Gina Works at Hearts or Reflective Skull it was hard not to lose yourself. Night Slave, with its steady beat, a crowd going nuts in the foreground, and neon blasting behind the band, conjured up images of an electric, zombie horde marching to battle. To be fair, that’s not terribly far from the reality: a couple hundred drunk teens and drugged up twenty-somethings packed into the sold-out Brightside, all losing their shit.
Oh yeah, they also covered Darude‘s Sandstorm for an encore. Nuff said.
DZ Deathrays are one of my favourite bands. The energy they create on stage is not easily done, yet every show seems to turn the could-be peaceful crowd into an all out frenzy. The two piece and their unique brand of Thrash/Punk Pop has spread like wildfire over the years, with the boys gathering a huge following not only in their home country of Australia, but in the US, UK and Europe as well. They’ve also nabbed themselves two ARIAs, so it’s not just me who thinks they’re onto something brilliant here. They have recently returned home after a solid almost year of touring abroad, and were just appointed the replacement slot of Julian Casablancas + The Voidz for Falls Festival (Lorne and Byron Bay only, sorry Tas!). That’s not all – they’re booked into play Mountain Sounds Festival, which they’ll be following up with a national tour, bringing Bass Drum Of Death and Hockey Dad along for the ride.
Their 2014 album Black Rat saw the duo make a notable departure from their sound in 2012’s Bloodstream. They teamed up with noted producer Burke Reid (The Drones) to tie it all together, and to help guide them to this new chapter. Although it’s still as raucous and punch-you-in-the-face as their debut album, Black Rat shows a development in lyricism, and vocals, as well as a few “softer” (or as soft as possible with these guys) tracks. They continue to traipse the world supporting huge acts (most recently Band of Skulls) as well as a strong presence in the European festival circuit. It seems there is just no stopping this powerhouse duo!
We were lucky enough to chat to vocalist/guitarist Shane Parsons who filled us in on all things DZ over the last year.
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You guys have had a huge few months with Black Rat, aside from winning an ARIA what have been some of the other highlights we might not know about?
Well this year we spent most of the year overseas in Europe, and that was really great. I think we did 120 odd shows over there this year! It was really good; we got to see a bunch of places and play in venues we haven’t played in before in places like Italy and Holland and places like that. Our headline tour was really great too – even though we hadn’t played there in a while the response was even better this time! I was a bit worried they might have forgotten about us.
You’ve got some loyal fans over there!
Yeah it is kind of like that in Europe with the loyalty. Another great part was wrapping up with tour with Band of Skulls at the Hammersmith Apollo, which fits about 5000 people in there!
Yeah! I saw Tame Impala there, it was incredible!
Yeah! That was really great, that was a really cool way to wrap up the year there. We were really keen to get home and it’s been really nice. We’ve had a few weeks off now and resting, we’ve only been playing shows over the weekend.
You’re playing Mountain Sounds with Alison Wonderland, Beat the Drum with a number of different artists – is it ever strange to know you’re sharing the stage with such diverse acts, especially with hard rock or punk in the minority? Do you get weird vibes from such a mixed audience?
No, not really. When we first started, our first national tour was with Crystal Castles, so that was kind of like the first time we had played in places like Perth and Melbourne. We were thrown into this world where we didn’t quite “fit in” so we worked a lot harder to win over people. But, at the same time, the guys in Crystal Castles chose us because they wanted a rock band. They didn’t want it to be a completely electronic night. I think that’s cool! I grew up going to festivals with diverse line ups rather than just the same thing all day. But even in the rock world you have all different stuff like garage rock and other stuff and we try to change that up on our tours…
Kind of like having Hockey Dad on your next tour?
Yeah! We had Palms on the one before that too!
Next year you’ve got your tour with Bass Drum of Death and Hockey Dad. You guys will be swapping spots with BDOD this time around though – is that kind of weird?
No not really. They’ve only been over to Australia once. We did a tour with them over in the US two years ago and it was awesome. Since then we’ve been saying, “Let’s get this tour going, let’s get this tour going!” But a lot of the time when you tour with a band overseas, you always talk about like trying to bring them back to Australia. Once you’re on tour and if you’re getting along really well you never want it to end! I think it’s going to be really fun! We’re playing smaller rooms but double shows, so we get to stay in Sydney and Melbourne longer and actually hang out. I imagine the shows are going to be very messy as well *laughs* it’s gonna be a good one!
You have had such an extensive touring schedule, how does that go when you’re trying to make new material? Do you create whilst you’re on the road, or is that the reason you went into the farm house to make Black Rat?
Yeah, pretty much. You have the best intentions to write but for both of us, when we’re on tour we’re pretty exhausted. We’re not on a bus or anything either, we’re in a van! It’s a bit hard to be pulling out guitars or anything to jot down ideas. But, you know, sometimes you’ll come up with an idea in soundcheck or something and you just try and remember them. Simon and I live separately, and have done for the last two years, so that’s why we went to the farmhouse. We were just together and just wrote for two weeks straight. It was good! That really kickstarted the writing thing. The thing for us is it sort of starts out with us in a room pretty much just making noise for a while and then all of a sudden things will start locking in! It was really good on the last record and that’s why we needed to do that. We’ll see how this one goes. I’m spending a lot of time in Sydney over this break, and we are trying to get this done in between tours as well rather than just having six months to just kind of write. I think we’re going to try and write a little bit over email and record parts and get things together and get ideas to take them into the room. It’s going to be a really fun way to do it, we can do it in our own time and we can record late at night. It’ll be interesting. It’s more how electronic producers work than how rock producers work!
With Black Rat, I found it was a lot more dynamic than Bloodstreams. There is a lot more going on with this one – was that a conscious decision to shake things up like that?
Yeah, totally! I mean, we always wanted to make it heavy but this one is a little bit softer. We wanted it to be punchier and a bit tighter, and I think it came down to the way we wrote it. Bloodstreams was written over three years, and with that album we had the songs and we had been playing a lot of them for a long time. When we got to Black Rat, we had only spent six months putting it together and there was one song we had been playing live. Everything else was able to be changed. Because of that thing of not being scared to change songs because we hadn’t played them live yet, and we weren’t too attached to it, it allowed us to “cut the fat” on some of them and try and trim them down to be a bit more succinct in a way. We were working with Burke Reid who produced it, and he really helped us as well. We did a lot of reproduction and he would say like, “You need to get this part right”. We were making changes all the way up until we recorded. There would be parts of songs that we had already recorded that we re-recorded because we weren’t happy with it how it was sounding. It came together! I love those moments, when you’re under pressure and you get these great ideas!
I can’t help but notice a development in your lyricism with Black Rat, as opposed to Bloodstreams – was that also a Burke influence or was that more personal from you, Shane? The lyrics are more involved and there is more singing on this record…
I think just from touring a lot more and seeing different parts of the world, as well as seeing how different bands work and put songs together… I think I am understanding what songs mean to people as well; it’s kind of interesting because you could write something and think, “Ah, that’s cheesy,” but it could be that borderline part where it could really mean something to someone and be a stand out moment for them. I wrote a lot of lyrics for this album – I’ll never call myself a great lyric writer – but I just worked and worked until I sort of came up with ideas that were interesting, suited my voice and had a bit of narrative to it. With the singing side of things, Burke would say like, “Sing this part, don’t scream it!” But we actually went back when it was about 90% done and I just screamed over parts I thought just needed that little bit more of a bite! It was a good balance. There is definitely a lot less screaming on this one.
Is that how you’ll work in the future with other records?
I don’t know, we’ll have to see how the songs pan out. I’m always up for changing ideas, and just trying to hone in on our sound. Once we get some songs together I can start demoing vocals and I’ll get a good idea. The thing that Burke brought to our attention, especially mine, is that the vocal melodies are there but I just wasn’t hitting it properly. If I sung it a bit more, I’d be able to hit the melodies a bit better. I was always just scraping the bottom and top of the melody, rather than hitting the notes. It’s good to try and get a balance between that and the screaming. It was a big learning curve for me.
Okay, so what can we still expect from you? You’re booked up until March and then?
It’s a little bit open ended at the moment. We’ve made ourselves a bit of a deadline to get our next record done, by October next year. I think we’ll just be trying to write as much as possible and tour. There is also plans to get back over to Europe and do the summer over there. We had such a great time doing all the festivals over this summer. It was really awesome and was a great time to be over there!
And just taking it easy for the time being?
Yeah, and just writing! Writing, writing, writing. Staying creative. Sometimes when you stop, it’s really hard to get going again!
Will you still remain based in different cities?
Yeah I think so, I’ve lived in Sydney for two years now and it’s really grown on me. We just float around and go with the flow…
It’s kind of like “recording for the future”!
Well yeah, that’s why I want to get songs together and then get back in the room and actually play them as we’ve demoed them over emails and stuff so we can get a feel of playing them together! It is kind of interesting to think you can do that now, and I guess we’ll just see how it all goes. I’m kind of excited. At first I was traveling up to Brisbane every two weeks and spending a week up there, sleeping on the floor, to do rehearsals. Then I’d fly back to Sydney, and spend two weeks working on vocals and extra melodies and stuff at home. This time it’s going to be cool to work on things at my own pace.
DZ Deathrays Australian Tour Dates:
Mon 29 Dec – Falls Festival, Lorne
SOLD OUT
Wed 31 Dec – The Espy, Melbourne
Tix here
Thurs 1 Jan– Falls Festival, Byron Bay
SOLD OUT
Sat 21 Feb – Mountain Sounds Festival, Kariong NSW
Tix here
Fri 27 Feb – Northcote Social Club, Melbourne w/ Bass Drum of Death & Hockey Dad
Tix here
Sat 28 Feb – Northcote Social Club, Melbourne w/ Bass Drum of Death & Hockey Dad
Tix here
Thur 5 Mar – Fowlers, Adelaide w/ Bass Drum of Death & Hockey Dad
Tix here
Fri 6 Mar – Amplifier, Perth w/ Bass Drum of Death & Hockey Dad
Tix here
Sat 7 Mar – Prince of Wales, Bunbury w/ Bass Drum of Death & Hockey Dad
Tix here
Sun 8 Mar – Newport Hotel, Fremantle w/ Bass Drum of Death & Hockey Dad
Tix here
Wed 11 Mar – Newtown Social Club, Sydney w/ Bass Drum of Death & Hockey Dad
Tix here
Thurs 12 Mar – Newtown Social Club, Sydney w/ Bass Drum of Death & Hockey Dad
Tix here
Fri 13 Mar – The Brightside, Brisbane, w/ Bass Drum of Death & Hockey Dad
Tix here
Sat 14 Mar – Yours & Owls Festival, Wollongong
Tix on sale soon
Since its inception in 1974, Triple J’s crown jewel has easily been the annual Hottest 100 Countdown. The largest music poll in the world, establishing what was truly the best song of the year. That’s not to say the poll is always accurate, with some victors wining in questionable circumstances, however as 2014 draws to a close, its now time to count your votes, and establish who will take out this years crown. In light of this, Howls & Echoes has listed its top picks for the 2014 Countdown. (In no particular order)
Peking Duk: High feat. Nicole Millar
Possibly the only good thing to come out of Canberra since Kevin Rudd’s ‘Sorry’ speech, Peking Duk have had an incredible year. The release of High saw the duo solidify their standings in the shit-fight that is the Australian dance scene. This release resulted in incredible performances at both Splendour in The Grass and Groovin The Moo, and most recently saw the two tear Sterosonic’s main stage a new one. Considering how far these boys have come, and the incredible rotation High has had across the airwaves, we will be very surprised if this doesn’t make top 5, let alone grab pole position.
Chet Faker: Talk Is Cheap
That said, it’s not like there isn’t any strong competition. Chet Faker’s ‘Built on Glass’ saw the Melbournite go from a well kept secret, to Australia’s favourite son. Talk Is Cheap has amassed an impressive 7 million views on YouTube and his debut album reaching Gold status, accompanied with a number one spot. It’s going to be an incredibly close race, however our boy Chet is in with a seriously good shot.
Future Islands: Waiting On You
The fact that Future Islands have been kicking around since 2006 will never cease to surprise us, however its extremely fortunate that their single Waiting On You broke them into the global music scene this year. After their incredible performance at Splendour In The Grass, it would come as no surprise if the American Outfit claimed the number one spot. Accompanied by their incredible performance on Letterman, 2014 has definitely been the year of Future Islands.
The War On Drugs: Red Eyes
Similar to Future Islands, The War On Drugs’ past two albums were not only extremely underrated, but one of the best-kept secrets we had. However in the immortal words of Nelly Furtado, ‘All Good Things (Must Come To An End)’. The War On Drugs’ Red Eyes divided listeners, either deeming it incredible, or incredibly boring. At Howl & Echoes however, we back the Philadelphian outfit and know that the group will feature heavily in this years countdown.
Sam Smith: Stay With Me
Rolling Stone slotted UK tear-jerker, Sam Smith, into their top 15 tracks of 2014 with his heartfelt ballad Stay With Me. Having wowed crowds at Splendour In The Grass, and his debut album, Stay With Me is definitely a change of pace form the upbeat nature of the countdown, but rest assured that it will be in there.
Flight Facilities: Two Bodies feat. Emma Louise
We had Chet Faker, we had The Smith Street Band, however its so profoundly obvious that Flight Facilities album ‘Down To Earth’ was the single most anticipated Australian album of the year. The duo have been kicking around for years, however in 2014 the finally release their hugely awaited debut album. From this album stemmed Two Bodies, featuring Emma Louise. Spearheading the electronic vibe which has taken over Australia, ‘Two Bodies’ has been received with nothing but love.
DMAs: Delete
Before they had released a song, performed a gig, or given the public anything to show – Australia was already talking about Sydney’s DMAs. With several tours and soon to be two groundbreaking EPs under their belt, its no surprise. The unique formula of an Australian spin on that Brit-Pop sound we’d all forgotten has resulted in them being loved the world over. Having just finishing up supporting The Courteeners in the UK to rave reviews, their ballad Delete is a definite feature on this years Hottest 100
DZ Deathrays: Gina Works at Hearts
Having recently taken out the ARIA Award for Best Hard Rock/Heavy Metal Album, the DZ lads are hardly slowing down. The release of Gina Works at Hearts saw a cross-over between their signature hard hitting riffs and a accessible lyrics, accumulating in some serious loving for the song. Here’s hoping that this cross over, which did them justice at the ARIAs, rewards them even further with a top 10 spot come January 26th.
ILLY: Tightrope
ILLY has been kicking around for years, however the release of Tightrope from his album Cinematic, hit a sweet spot with both Triple J and voters alike scoring Platinum status. Having headlined this years One Night Stand, it really has been a jam-packed year for the Victorian rapper, and he is in serious contention to cap it off with taking that number one spot.
Jungle: Busy Earning
The boys from Jungle came out of nowhere, and their self titled debut release took the world by storm. The British outfit have spent the entire year touring, capitalising on what is one of the better albums of this year. Their feel-good downbeat vibes will be making an appearance in this years countdown, the question is where?
Wild Card: Taylor Swift – Blank Space
I honestly don’t care what you say, Taylor Swift’s 1989 was one of the best albums of the year. Yeah it’s pop, but it was genuinely one of the most honest albums we’ve seen in a long time. Unfortunately I doubt that Blank Space will be considered for a nomination, but it should be. Taylor is love, Taylor is life.
I fucking love DZ Deathrays. I’ve seen them six times, and could easily see them another 6000. The energy they bring to the stage is not something that is seen often. From the first note of the first song, it is relentless, face-melting rock that causes all hell to break loose – and everyone loves it! Having caught them at The Blurst Of Times this year, they proved again why they’ve seen the success they so deserve: they fucking rule. Although their jaunt with Blurst was shortlived, and left a lot of us scratching our heads as to why there weren’t more shows whilst in the country. Well ponder no more, fellow thrashers. The two time ARIA winners have since heard our prayers and have announced The Get Rich Or Drunk Tryin’ tour for March 2015!
That’s right! They’re comin’ home and bringing US rockers BASS DRUM OF DEATH (read our interview with them HERE) and local legends Hockey Dad along for the ride. They’ll be destroying intimate venues around the country, so get on those tickets fast!
All three acts have also been announced for the inaugural Farmer & The Owl Festival in Woolloongong, NSW!
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