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We loved UNIFY ’17 so much we thought we’d take a trip down
memory lane and remember the good times we all had.
We have a two-day review, photos and a bunch of
video interviews we did with the bands!
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VIDEO INTERVIEWS
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A TWO-DAY REVIEW
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Day One
Regardless of one’s identity or one’s preparedness, at an outdoor music festival, everyone and anyone is vulnerable. It is an unfortunate scenario, but in turn, it also adds to the adventure and excitement of the event. Within minutes of the official opening to the grand gathering that is Unify, mother nature reared her ugly head, and the elements engulfed Tarwin Lower. Actress Ilka Chase certainly put it best when she said: “Among famous traitors of history one might mention the weather”. Besides the literal flood which attacked the festival and all those involved, the fans clearly undeterred flooded into the main arena and spirits undeniably remained high, but not necessarily dry.
Victoria’s Ocean Sleeper had the honour of opening the event, but it was far from a dream start, truthfully for the quartet, it was a nightmare (Congratulations if you picked up on the sleeping puns). The four-piece were able to get through almost two songs from their recently released EP Breaking Free and Hold On Stay With Me when electricity became non-existent. However, this was not taken as oppressive, more-so an opportunity. Even in the torrential rain and wild wind, the audience maintained the energy without Ocean Sleeper acting as their catalyst. Chants of Queen’s We Will Rock You and DJ Otzi’s Hey Baby! (If You’ll Be My Girl) elated the entirety of the festival and eventually the power returned and OS finished their set. Not necessarily a rain dance or chant, maybe a current chorus? Who cares, it worked.
Sydney’s Justice For The Damned provided the soundtrack for the ninja moshers instantly afterwards with their deathcore influenced metalcore. A far from the original recipe with obvious nods of influence from Emmure or Chelsea Grin; but the response to Deep Rotting Fear was beyond voracious, so it was abundantly clear the quintet are superlative in their niche.
Arguably the outfit with the toughest position on the entire festival, Brisbane’s Columbus was required to inject melody into what had been a predominantly metalcore show thus far. It was established very quickly though that this pop-punk trio were the men to do it, as the finesse of the musical transition, the three-piece executed this with was of a prodigious standard. Replace Me and Downsides Of Being Honest demanded attention which they thankfully received and honestly for this writer at least, Columbus have eased the pain of The Swellers’ hiatus to a remarkable effect.
The melodic intermission was undoubtedly brisk and like a bullet from the chamber Sydney’s Polaris exploded to mark their introduction and the festival’s return to the heavy music version of the event. Unfamiliar was a distinct fan favourite, and there is simply no denying this five piece’s impressive offensive in a live setting; distinguished would be an accurate description. Their similarity to the UK’s Architects is rather apparent to the point of being a younger-brother type scenario, but their presence is infectious, so it is an endearing pathway Polaris are undergoing.
Now was the time to administer some “putrid” into the “polish” that the festival had only contained to this point, enter the Kingstigators of unbelievable ugliness to an astounding platform, King Parrot. These Victorians were victorious in disturbing an unsuspecting audience, but like a rabies-infected bite, it was overwhelmingly contagious. The quintet’s grinding thrashin’ punk extreme musical amalgamation was a sense of maturity that had no heard yet, and if a visual metaphor could be placed on the performance, the best this scribe could conjure is a VB shower on a vegan festival. Matt Young as always was livid both on and off stage whether he was fully wearing his shorts or not and if highlights had to be mentioned BRIEFly, the Wall Of Death and Need No Saviour were it.
If King Parrot injected the shock into the festival, Canada’s Counterparts provided the solace. The band’s noughties inspired metalcore à la Misery Signals and Poison The Well restored windmill warriors back to their happy place, and hardcore enthusiasts shouted along with glee. Sinking, Stillborn, Witness, Compass and The Disconnect roused the biggest reactions and conclusively it is exhilarating to see Counterparts receiving the honour such as this for their passion.
Suddenly the conditions became comfortable as if premeditated the wind and rain subsided and a calm overtook Unify Gathering. Essentially this was the opportune time for a dose of “strange”. Enter the oddballs Ocean Grove from Melbourne and what an unforgettable crowd response this five-piece received; possibly the best of the entire festival. A band hellbent on “peculiar” presenting a combination of Wes Borland, Drowning Pool in 2001, hipster aesthetic, Hellions and Cheez TV; it has to be witnessed to be almost understood. It sounds otherworldly, but the enthusiasm the quintet received from their single These Boys Light Fires was out of this world.
If Ocean Grove brought the past to the present, Melbourne’s House Vs Hurricane brought the present back to the past (to a degree). As thr vocalist, Dan Casey shouted at the start of their set “Welcome to 2012” before the five-piece launched into 40 Deep and the audience happily welcomed HvH back into their world. Get Wrecked, Give It Up, Dead Lizard, Forfeiture and Haters Gonna Hate stimulated the crowd into a celebratory bliss and even though it was far from perfect, it was, without a doubt, memorable. This was of course accentuated by the announcement of guitarist’s Ryan McLerie’s engagement which occurred just minutes before HvH’s performance.
Continuing with the theme of Melbourne bands and rewinding the clocks, the endlessly adored quartet known as The Getaway Plan cast a spell and hypnotised the entirety of Tarwin Lower with their album Other Voices, Other Rooms being played in full. Unbelievably like Daniel Craig, TGP, this record and their performance of these songs just improves with age, and although this was a change of pace, it has become apparent that these anthems from 2008 are unforgettable.
If The Getaway Plan had provided the soulfully moving soundtrack, California’s letlive were ready to blast soul punk into every attendee present. The eruption of Renegade 86’ was equivalent to Haskins the Gremlin meeting his demise in the microwave from the 1984 “Gremlins” film; except for one major difference, it did not stop. Frontman Jason Aalon Butler was a man possessed bringing new meaning to the word “hyperactive” which he maintained at different heights during Another Offensive Song, Younger, That Fear Fever, Banshee, Muther (which Mr Butler movingly declared that “real manhood comes from women”) and Good Mourning America. If Letlive’s music wasn’t the art to impress, there was irrefutably an impression made with Jason climbing the stage ladder frames dozens of metres in the air or his crowd surf inside a wheelie bin. Unify had reached an impressive summit but arguably still not its peak, inconceivably more was still to be enjoyed.
If letlive set the event alive, then Buffalo’s Every Time I Die were responsible for killing it in the best way (figuratively speaking). What better soundtrack to initiate this assault than Underwater Bimbos From Outerspace? For nearly 20 years ETID has been destroying stages throughout the world, and the machine they have created is still burgeoning and shattering ETIDiots at an alarmingly beautiful rate. Decayin’ With The Boys, Glitches, Floater, We’rewolf and Map Change bewildered all, and the band’s authenticity left an undying impact which will be alluded to at this festival for years to come.
It had been a long, eventful, enjoyable and challenging day so of course, it made practical and perfect sense to close with UNFD’s darlings of progressive metalcore Northlane. Vocalist Marcus Bridge is nearly unrecognisable as the man he has become, his duty as Northlane’s frontman is now part of his biological build, he has become THEIR requirement. This is no easy feat as his tenure with the band is still stupidly one which sparks conflict; sincerely though he is a weapon of incontestable power and Rot showcased his supremacy in a poetic manner, this was further justified by the new song Intuition which sparked positive havoc from all who witnessed it.
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Day Two
With surely an abundance soreheads clambering around the main arena, an early start was probably not what most would have wanted; genuinely a few would have preferred possibly an early death. Melbourne’s Pagan had the deserved privilege of opening the second day and improve these deteriorated feelings with their proclaimed “Death & Roll”. To be frank, this scribe believes the quartet could have easily played a later time as their brilliant artistry and flair required more attention; but this was a magnificent opening, and if Oathbreaker is to tour Australia soon, Pagan is THE band to support them.
Sydney’s Bare Bones then brought a sleazy southern punk party vibe which seemed to enhance the celebration, including songs such as Outlaw Blues, Humble Wasteland and Road Worrier. However, it was their cover of Rage Against The Machine’s Guerrilla Radio that actually provoked movement and sing-alongs. Bare Bones were not quite the hangover cure but more-so “hangover pure” and the suffering was certainly easing thanks to them.
As the rains had subsided somewhat, the drenching would have to come in a different form via post-hardcore meets metalcore sweethearts Melbourne’s Drown This City. Exhibiting an engaging, professional and polished live show, it is very difficult to believe that the quintet is only just over a year old. Featuring tracks from their EP False Idols, the five-piece acquired deservedly the attention of the gathering. Front-woman Alex Reade is admired in her role and her melodic moments have the strength and reminiscence of Amy Lee, but with just a little more originality in their music, DTC could really carve a proper identity and steal the spotlight.
Brisbane’s The Brave did not quite hit their stride in their early time slot, perhaps their slight Architects inspired melodic metalcore comparable to The Here & Now era was just not the musical concoction needed that this particular time, but their effort was valiant regardless. The appearance of Marcus Bridge for the song Dreamless was the pinnacle.
Canada’s punk trio The Dirty Nil were criminally unappreciated for their set of infectious punk tunes but admirably powered through and accomplished stealing some new fans with their sterling hits from their High Power LP.
Every aspect of sublimity seemed to combine exquisitely for the appearance and reunion of Perth’s Saviour. The audience hung on their every move thanks to their blend of metalcore to electronic spiritual euphony (thanks mostly to keyboardist Shontay Kennedy Snow) and best of all the festival coincided with their new album release Let Me Leave. The direction the sextet have taken with the new songs is unquestionably the right move, and hopefully, an ascension is rewarded to Saviour for their resilience and progression in the not too distant future.
The path to once again get wild had now been established with ease, thankfully the boost was to come from Deez Nuts. Suitably JJ Peters and his party arsenal kicked this off with Like There’s No Tomorrow which instigated rave enthusiasm. Stay True was testament that the quartet are the leaders in this niche of hardcore music and honestly this writer has never seen Deez Nuts at such an elite level. The anticipation for the new LP should be practically immeasurable.
UK Emo outfit Moose Blood provided a graceful wind-down score with their heartfelt tracks Honey and Glow. Even if the quartet were musically slightly out of place at Unify Gathering, they managed to harmonise without issue which exemplifies the four piece’s ability to write first-class songs.
Newcastle’s Trophy Eyes were thankfully back in Australia to promote their new record Chemical Miracle and the reception for them was their biggest yet. Heaven Sent had the quintet at full flight, but more like a young pterodactyl’s first flight attempt than a grown white-tailed eagle. This awkwardness, however, is Trophy Eyes’ captivation and exactly why so many people gravitate toward them, quite similar to the early days of Title Fight. Hopefully, the New South Welshmen can spend more time home than abroad for Australia’s sake.
Exposing the best from our wonderful nation, even more, it was time for the current finest in Tasmanian punk Luca Brasi to get their “mates” (in other words, the entirety of the festival), singing as loud as they can to their Hot Water Music motivated choruses. With an Australian flag waving the entire time the four-piece were onstage, it felt as if Australia day had arrived early. Say It Back, The Cascade Blues and Anything Near Conviction incited volumes louder from the audience than the four Taswegians could exhibit themselves and fortunately if they were missed by the readers, they will be touring soon with Laneway festival for more of their mates to enjoy.
Melbourne’s Storm The Sky transformed the artistic atmosphere to a “left of centre” direction with their death-pop-rock; although perplexing, this confusion increased their intrigue to an elevation the now quintet have probably not experienced in their career yet. Wake Up Sleeping and Jaded Ghost roused the best responses from the attendees and truthfully with a more intimate setting and lights show, this new musical direction live would be hypnotic.
The departure of I Killed The Prom Queen from the festival was one which upset many fans who were eager to see the metalcore mainstays; however, to fill the vital time slot thankfully UNFD organised Australia’s finest pop-punk outfit Bodyjar. These Victorian gentlemen were here to educate, stimulate and best of all fascinate whoever was caught in their grasp. One In A Million, You Say, Is It A Lie?, Fall To The Ground, Hazy Shade Of Winter, Role Model and Not The Same delighted predominantly the more mature punters present, but the younger festival-goers were ecstatic to see The Amity Affliction’s Ahren Stringer joining the quartet onstage numerous times to sing his favourite songs.
If there were one band no this entire line-up which could be classed as the “hot topic” of questioning it would be Sydney’s deathcore titans Thy Art Is Murder; simply because it was unknown as to who would be fronting the outfit. To answer the question, the five-piece introduced the vocalist in an absolute blaze of glory: Darkness, smoke machine and a hazy inauguration to reveal CJ McMahon had once again rejoined the ranks to the satisfaction of thousands. If there was any trepidation about CJ’s return, these were thrown far aside by the live execution of Purest Strain Of Hate which was thunderous, haunting and brilliantly brutal. Welcome back Mr McMahon.
After completing the largest scale tour of their lives and performing at the ARIAs as well as winning awards for their latest album WACO, it seemed logical for grunge punks Violent Soho to rejoin the festival circuit in Australia to exercise what they do best. This was pandemonium simply put, bodies were flying about for what seemed to be hundreds of metres, dancing had become an entire crowd synchronisation, and Soho was thankful for all of it and more. Covered In Chrome was deafening due to the audience’s participation and honestly, the whole performance felt unrealistic it was that supreme. The boys from Brisvegas have unmistakably proven themselves to be one of Australia’s premiere rock acts.
In 2011 the post-hardcore fans of the world became collectively distraught at the announcement of the demise of Canadian supergroup Alexisonfire. In 2015 Australia was left disappointed while the remainder of the western world rejoiced at the declaration of the band’s reunion which was completely missing “down under” altogether. In 2017 the fine folks at UNFD decided Australia were due for their turn and the Canucks happily obliged.
Upon taking the stage at unify gathering, the grasslands had completely disappeared from sight; all that was visible was an ocean of hands and heads of devotees above elated to see their favourite Ontarians play possibly one last time.
Young Cardinals opened proceedings but honestly Alexis could have just provided the musical backbone for the song, Tarwin Lower had become the voice for the track. Boiled Frogs then allowed for some moshpit aerobics with the ground nearing earth-quake status from the bouncy anthem which came to a less dangerous scene when the Australian unify gathering choir was required again for This Could Be Anywhere In The World.
The Canucks were in unrivalled form throughout their entire performance: We Are The Sound, Drunks Lovers Sinners And Saints, Rough Hands, Dog’s Blood, Pulmonary Archery and Happiness By The Kilowatt were presented as if it was written into each members’ DNA and with the passion to boot.
Even though it felt as it was all over all too soon, the best way to summarise is through an Alexisonfire song itself entitled To A Friend; this address is exactly what unify gathering is: A friendship and family first, above a festival. So in return to UNFD and all the bands who took part Australia thanks, YOU, January 2018 cannot come soon enough.
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PHOTOGRAPHS
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Photography by Bethany Mafrici
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