Pix by Sarah Gilpin
Words by Kris Peters
Let this be a lesson to you kids. Don’t ever stuff around getting into a gig thinking you have time or, even worse, waiting for the main act to appear before entering. While this should be a staple rule of thumb anyway – a true music fan aims to be at every concert from the opening band to the last – the point was driven home for me tonight when I sat downstairs shooting the shit for most of Big Noter’s opening set in support of Karnivool.
Thinking I would be satisfied with merely a sample of whatever the support act had to offer I inexcusably walked upstairs in time for what turned out to be the final three songs of the Melbourne outfit’s set, and right whack to me because if the last three songs were anything to go by, I missed the start of what could be a long-standing relationship between the band and myself.
The first thing I heard as I made my way upwards was a funky as fuck bass run with swirling guitars, drums being smashed to the point of destruction and a voice I momentarily mistook as being that of Mammal frontman Ezekiel Ox. My eardrums instantly drove me deeper into the crowd, and I was hit with a sonic barrage that resembled an amalgamation of Mammal, Rage Against The Machine and Body Count. I know I generally steer clear of comparisons, but the fact Big Noter made me even think of these three bands is a victory in itself.
The frontman prowled the stage barking orders and imposing himself on the crowd, who were lapping up every word and firing the intensity straight back in his direction. Drums filled the room with sporadic guitar runs and solos that were perfectly offset by the type of bass you could move to all on its own.
I still don’t know too much about Big Noter except they are fucken awesome and a welcome breath of fresh air on the Australian musical landscape. That and the fact they all wore caps on stage (fucks me why I even noticed that, but the eyes see what they see…) But what I do know is I have already tracked the band down on Facebook and sent them a message wanting to know more. And that’s something I rarely do on the back of two and a half songs.
Anyways, back to the present, and the lights went down, signifying the impending arrival of the long dormant Karnivool back onto national stages. A strangely melodic glitch spluttered from the speakers before the band walked individually into the darkness, lit only by a faint purple hue that resonated from the stage lights. A massive cheer greeted every member, but the loudest and most passionate was reserved for frontman Ian Kenny, who always looks a little sheepish when met with the universal acclaim to which he is entitled.
You could almost feel the air get sucked out of SOPO as Karnivool launched into their new single Drones, which was recently released to coincide with Karnivool’s declaration of a new album, which will be with us later this year.
It was a typically haunting and impactful opening salvo from a band who have always prided themselves on their live performances. There was no dramatic flair or cries of we missed you. Karnivool weren’t here for pleasantries or apologies. Those were to come in the form of their music, which is, and always has been, the only form of reparation Karnivool fans have wanted from the band.
Kenny’s voice soared majestically from the first note, creating a sonic tapestry of clarity that was mesmerising and impactful. Working their way through Goliath and another new song Aozora, Karnivool shifted gears effortlessly, upping the tempo at random junctures and then easing back without warning whenever the desire overtook them.
These musical juxtapositions have always been a feature of Karnivool’s music, but when played live, they take on a life force of their own and frequently alter the mood and trajectory of their songs to create a sonic monster of disparity that follows no path except its own. A Karnivool concert is far more than just another gig. It is an encompassing plethora of emotions that twists your senses and carries you on a musical journey that only ends when the band allows it.
Karnivool swept through Mauseum and C.O.T.E before pausing and allowing Kenny the chance to speak in greater detail about the October release of their new album Ad Complementum before showcasing another new track with Ghost. This was followed by We Are and the always popular Themata before Karnivool bade their farewells and disappeared from sight.
But even someone who has never witnessed Karnivool in all their glory before knew they would be back. Their two biggest hits in the form of Roquefort and New Day were still to be played, and leaving without playing at least one of those songs would potentially cause the first mass riot witnessed at the mighty SOPO and as true gentlemen of the industry there was no way Karnivool were going to be responsible for that.
But first, they regaled us with another new piece of music, All It Takes, before the familiar strains of Roquefort pierced the silence and the crowd went batshit. They even started a circle pit front of stage, which, although not in the same ballpark as most metal circle pits, was still a welcome sight. The crowd roared their approval by drowning out Kenny’s vocals, but judging by the smile on his face, he was not upset by the gesture in the slightest.
But if you thought that song was met with a wave of emotion, you had best strap yourself in for liftoff the moment New Day reverberated through the room and a sudden sense of calm descended momentarily before the emotions had nowhere else to exit other than through every pore of every limb swaying appreciatively in time with the music. Even the solitary crowd surfer seemed overcome with happiness as he sang along while being awkwardly palmed off to the next set of extended hands willing to assist him on his journey.
As the final notes of New Day hung beautifully in the air, guitarist Mark Hosking seized the moment to thank everyone in attendance for their continued support, singling out Karnivool’s brothers in prog, the mighty COG, who had ventured North to catch the show. And that alone tells you all you need to know about the regard in which Karnivool are rightfully held by people on all sides of the musical fence.
