I interviewed Paramore guitarist Taylor York while they toured Australia for the Soundwave Festival earlier this year. Initially I was supposed to meet the band at their hotel room on the morning of Soundwave in Perth but they decided to wind back publicity at that point and I did a phone interview instead while they were still in Melbourne. There’s a part of this interview I had to cut, so I’ll include it at the top here - it’s about their accidental headline spot at Sydney Soundwave after Garbage had to cancel:
“We started off the tour with our own sidewave show at the Enmore in Sydney, which was so fun to start off with an intimate show with our fans. Both Soundwave shows so far have been awesome. In Sydney we basically ended up getting to accidently headline the night which was just insane. It was really surreal, we kind of weren’t sure the whole day if we were going to be able to play or not because we weren’t sure when we were going to get the gear because of the flooding so we didn’t have any of our own stuff. We kind of accepted our fate that were weren’t going to get to play, and at the last minute the gear got there. We’ve got the most amazing crew in the whole world so we were able to get it together really fast. We were really excited to play but we were like’ we’re going on the same time as Metallica and there probably won’t be that many people there, but whatever, we’ll deal with it and it’ll still be fun.’ It was the most surreal thing to walk out on stage and see so many people, it was a really special show for us.
Disclaimer: I was a key creative in what is often considered one of the more “dudebro” franchises out there, Gears of War. I’d also like to remind everyone out there that I went out of my way in working with our team, the writers, and Epic’s artists to make sure that female characters are…
First published in Atomic magazine, republished in PC & Tech Authority. I tracked down Chris while he was in Melbourne for GCAP, and asked him for his thoughts on Kickstarter, his design philosophies and goals, and Australia’s largely stagnant development scene.
Eleventh He Reaches London/Rachael Dease/Foxes @ The Bakery 15/12/2012
ELEVENTH HE REACHES LONDON/Rachael Dease/Foxes/Only Hope
Saturday night at The Bakery served up a range of raw, uncompromising music from diverse line-up charged with angst and emotion. Just in time for Christmas.
Foxes grimly took to the stage after Only Hope, setting the tone immediately with the screams of singer Alex echoing through the cavernous Bakery band room. Without once breaking from his anguished screaming he poured everything into the set, backed by no lack of enthusiasm from the rest of the five-piece. After a quick, and impressive, mid-song cymbal change drummer Jake proceeded to beat the hell out his kit for rest of the show. While the angst is delivered through Alex’s voice the indie-style melodic guitars differentiate Foxes from the average hardcore act. On stage they pulsated with energy as they thrashed around and indulged themselves in extended instrumental sections, but you could hear a pin drop between songs. In what is an otherwise tight show, the awkward silences detracted from the atmosphere they were building. Red-faced from screaming, Alex finished the set by dropping his microphone and leaving the stage, while the rest of the band built up to their frenetic crescendo.
“We’re kinda the wildcard of the night,” said songstress Rachael Dease after her first song, “I’m still very angry, I just express it differently.” With that in mind inclusion of her ambient-pop style to the line-up seemed less odd and strangely fitting to the melancholic theme of the night’s music. Armed with omnichord, a drummer and her haunting voice, Dease had little trouble casting her hypnotic spell over the audience. Through her solo work Dease has been picking up a lot of buzz and it’s not hard to see why. The dark, moody, ambient synth tones made a perfect match to her rich voice and somehow worked as an effective counterpoint to the shoutiness of the other acts of the night. She wove through All In All Out and Win The Losing Game with the sort of power and vocal control any talent show wannabe would sign their soul over for (and probably do).
To celebrate the vinyl reissue of 2006’s The Good Fight For Harmony Perth’s cult favourites Eleventh He Reaches London made their first and only appearance for 2012. To whet their deprived fans’ appetites and to mark the occasion they played the album in its entirety. The band looked instantly comfortable on stage with the slow build of Coronation into Say You See Why, which left Ian Lenton’s vocals a bit drowned out by the three guitar attack. As the sound mix issues were sorted out through the set the intricacies of the mournful post-hardcore really began to shine. In an act befitting of the moody atmosphere Lenton made a quick dash off stage for a bottle of whiskey before launching into the next song. The wall-of-sound the three guitars made were impressive mixing heavy with sombre, and the frenetic timing changes were handled expertly. With little time for banter Eleventh He Reaches London roared through the set with the crowd eating up every bit of it, quenching their appetites until the next show early next year for the upcoming album.
I don’t think the trailer is what I guess you could call “videogame sexist,” but rather a reflection on sci-fi narratives. I personally found the trailer to be really cliche’ and almost immediately picked up the context of the situation before the camera had zoomed out to make the big reveal of murdered people surrounding a robot/cyborg with blade-arm things. Even the name Cyberpunk is smacking you over the head with sci-fi tropes. I think there a certain amount of cultural perceptions and codes that have informed how this trailer can be perceived. Let’s look at the movie A.I. where Jude Law’s character is a sex-bot framed for murder. To establish his character, he had to be made explicit that that’s what his character does by showing him post-coital in a seedy hotel room. How would be know otherwise? Is there a stereotypical giggalo dress-code? He just looked like a dude in a suit.
The woman in the Cyberpunk trailer wears revealing clothes, and is obviously beautiful, and could perhaps be in the same line of work as Jude Law’s character. If that’s the director’s intention, he/she needed to take societal cues in order to portray the fact, and our cultural codes have a fairly standardised idea of what a sex-worker looks like (just look at any stock photos newspapers use for prostitution stories - fishnet stockings, massive heels, tiny dresses etc).
This is the point where I realise I forgot the point I was trying to make. Oh dear. Either way I dig your commentary on this!