Review by Matt New
Photos by Angie New
A great deal of anticipation has been simmering away throughout 2022 for the reformation of Sunk Loto, along with their first shows in almost 15 years. So understandably, The Factory Theatre in Marrickville would fill its main room to capacity with many eager punters keen to relive their youth. Joining the mighty Sunk Loto for the second leg of this East Coast tour were Brisbane’s Osaka Punch and Melbourne’s The Last Martyr. Both bands offering up a diverse mix of styles to kick off the night.
For a long time now, Osaka Punch have proven to be one of the most uniquely entertaining acts within the Australian heavy scene. The Brissy four-piece leave no avenue unexplored when it comes to their sonic tapestry, ensuring they have a little bit of everything for everyone. Their charismatically audacious frontman Jack Muzak is someone you cannot take your eyes off for too long, as one moment he will be rocking out on his various keyboards and synths, then the next he is simulating laying an egg with his egg shaker.
Backed by Chrispy Town on his glorious array of PRS guitars, Brenton “Reggie” Page slapping away on his thunderous five-string bass and new drummer Blair Hamilton, who has very much acclimatized to his new role on the skins, they are the complete package.
An entertaining half hour set that included How We Operate, Hall of Shame and Battleworm which left the crowd wanting more. Lost in a hypnotic groove, they alerted their legions of die-hard fans of an impending headline tour in 2023, and a long-awaited new album. If you read this, and you have not experienced Osaka Punch, then where the bloody hell have you been?
Melbourne’s The Last Martyr have experienced some welcome success recently with multiple festival appearances and now, in the words of the band’s singer Monica Strut “their first national tour opportunity”, in which they are deeply grateful to Sunk Loto for having them. The energy within the band was electric, and they were greeted by a very healthy showing of support in the Factory’s main room, which only fuelled their performance.
Bright and vibrant, accompanied by catchy hooks and big chunky detuned riffs all highlight what this ensemble represents, and it was evidently clear they feel right at home on stage with each other. They powered through a very strong set that flowed and showcased a collection of material that would make nu-metal bands of old proud that the torch is still well and truly alight. The Last Martyr used Monica’s Sydney homecoming show to debut a brand-new track called Comedy/Tragedy in which they have never performed before live. Ensuring that we have many things to look forward to from the band in the very near future.
The one and only time I was fortunate to see Sunk Loto was back in 2004 supporting A Perfect Circle at the Hordern Pavillion. Their absence from the Australian metal scene for so many years has created such a demand for the band to reunite and rekindle the aggressively powerful sound that made them so respected amongst bands internationally.
Considering the band weren’t on talking terms for many years, it certainly is a privilege to experience them once again live.
Before the lights illuminated over the Factory Theatre stage and before the first note was struck, the lads from Sunk Loto were greeted by the loudest and emotional reception from the audience. Their set kicked off with the first three tracks of 2003’s Between Birth and Death, and the intensity was immense. When some bands reform after long hiatuses, they struggle to maintain a level of excellence present when in their prime. Safe to say Sunk Loto do not fall into that category, and it’s as if they never left!!
Frontman Jason Brown weaved between the harsh bellowing screams and soaring melodies as he crouched intently overlooking the crowd singing along to his every word. Luke McDonald’s guitar tones soared above the mix and every chord was a jot to experience. The rhythm section of Dane Brown on drums and Sean Van Gennip provided a backdrop that was powerful yet meticulously precise, like a well refined machine operating at its peak.
Their 18 song setlist spanned everything across their two major releases and original EP, taking everyone on a very cathartic trip down memory lane. Highlights included Empty and Alone, Everything Everywhere and Sunken Eyes that got a passionate involvement from the crowd helping sing the choruses along with the band. The set had absolutely everything and the band performed at a standard that makes you second guess they have been absent so long from the stage.
Like all the bands for the evening, Sunk Loto also hinted at exciting new material and more coming from within the camp, so overall this gig gave many a lot to look forward to in 2023 and beyond.
