Review by Matt New
Photos by Angie New
It is revitalizing to see live music back in abundance after spending the past few years on life support. Not only small venue shows, but touring festivals have returned with keen interest and support from a hungry music community ready to sink their teeth in. The Monolith Festival had no shortage of challenges and delays, but the day finally came for Sydney to salivate over a strong line-up of amazing Australian heavy music talent.
Bella Vista Farm in the northwest of Sydney is a venue that many would not have associated with live music due to its strong historic and cultural significance. That being said, once inside the main gates it was clear that the venue was more than capable of providing everything needed for a great day; plenty of food trucks, bars, merch and good times. The towering single stage was illuminated by the sun as it beckoned punters down the hill to the barrier.
Opening the festival was Perth experimental math-rock outfit Yomi Ship, who fused melodic progressive sounds with dynamic post rock elements. The 3-piece played with much bravado and precision, turning heads from all directions with their amazing musicianship. Their brief appearance at the festival set an incredible energy and tone for other bands to follow.
Central Coast’s very own Reliqa have had quite the hype surrounding them of late, and they perform with such intensity which is rarely matched by bands of similar ages. They launched into a set that was equally as powerful as it was chaotic. In straying away from the songs many have grown to know them for, Reliqa used the opportunity to trial new material on an eager audience. Performing their latest single Safety which featured a brief appearance by Jonno Hawkey from Bloom followed by another new track The Ritualist. Frontwoman Monique Pym gave insight into a debut album I Don’t Know Who I Am which is scheduled for release later this year.
Hometown heroes Sleepmakeswaves graced the stage with smiles from ear to ear, soaking up the afternoon sun in what had been their first live performance in 3 and a half years. The 4-piece post rock outfit performed with the greatest of ease, proving a hiatus was not a hindrance. The intensity of the festival felt like it gained a gear once they got into their zone, and it was certainly a cathartic experience to witness. Ordinarily, instrumental bands are complete anomalies at most heavy music festivals, but Sleepmakeswaves commanded such engagement from the crowd, who were swept away in a vortex of hypnotic rhythms and chunky riffage.
As the sun began to set, Australian guitar aficionado Plini took the stage. Plini has earned the respect and endorsement of some of the world’s finest guitar players, with his very tasteful and tight blend of progressive rock. It was refreshing to lay witness to such a clear and precise brand of guitar-based music that was devoid of any unwarranted intensity or trickery. Surrounded by some of Sydney’s brightest session musicians within the Aussie prog scene, the mix and layers of complex melodies and harmonies were magnetic. Stylistically winding through vast dimensions spanning fusion to djent, Plini certainly left no stone unturned.
Melbourne’s Ocean Grove has gone through several line-up changes over the past few years, most notably seeing former bassist Dale Tanner moving to lead vocal duties. The 4-piece nu-metal outfit hit the stage like a sledgehammer immersed in an ocean of strobes, and they showed they have become masters of their own artform. A set with a strong showcasing of tracks from their 2020 release Flip Phone Fantasy and latest album Up in the Air Forever. Ocean Grove were hard to take your eyes off, as you didn’t want to miss a second of their electrifying performance. They brought heavy nostalgia with sounds reminiscent of the greatest mixtape ever made by the 90s and 00s alternative metal bands.
One of the most eclectic and entertaining bands of the day by a long way.
Cog are one of Sydney’s premier offerings to the Australian hard rock and progressive scene, and after many setbacks, the relief of being able to perform to their adoring home crowd was very apparent. Beginning with tracks Bitter Pills, Anarchy OK and What If, they set a strong tone for a thought-provoking set. You are immediately drawn to each band member and their unique individual energies that are drawn together in a densely beautiful sonic tapestry that many 3-piece bands struggle to parallel.
Flynn sent out some powerful messages to the crowd about the importance of living in the present, and putting all of the problems we have faced collectively in the past. Striving for unity through their music was the main objective for the evening, and it brought everyone together peacefully. A great set that covered a diverse mix of songs across the past 20 years of material. Before concluding with fan favourite Bird of Feather, Cog encouraged the crowd to take a journey with them through No Other Way, highlighting how Australian progressive music has cemented its own identity on the international stage.
Always an act willing to go above and beyond for their fans and the local music scene, the crowd was left
feeling warm, fuzzy and alive.
Finally, under the cover of darkness, the mighty Karnivool brought this baby home to close out a perfect day of music and festivities. Widely regarded as Australia’s most influential progressive band amongst the international community, the Perth quintet surprised everyone by opening with Fear of the Sky and pushed through a long list of classic tracks from their Sound Awake album. Almost three years since Karnivool had played on the East Coast, fans were mesmerised and overcome by the emotion of a live band that rarely misses a beat, and were treated to a masterclass of sonic complexity. A welcome reward for a Sydney crowd that missed out on the ten-year anniversary of their most revered album as a result of
covid restrictions.
Ian Kenny effortlessly navigated his vast vocal range, conveying all the emotion and conviction we expect from him. Whilst it was hard to drop focus on the Karnivool frontman, you were drawn to all band members one by one as they all contributed intricate layers that shine within so many of their songs.
Guitarist Drew Goddard took the opportunity to reaffirm the message relayed by Cog’s Flynn Gower about living in the moment, driving the point that our community has solidified significantly since live music has returned, and that we need to keep the wheels moving. Amongst the familiar classics, they included new tracks Animation and All It Takes, giving us a snapshot of what to expect from their impending and much anticipated fourth album.
Monolith Festival was truly an uplifting and cathartic experience. The crowd was one of the most engaged and well-behaved I have ever witnessed in the many festivals I have attended over the past few decades. Credit and thanks must go to the organisers, promoters, crew, security and vendors. Your dedication to the music industry resulted in a memorable festival experience for us patient and grateful Prog fans.
