Live Review: Every Time I Die, Touche Amore, A Ghost Orchestra

In the early days of the hardcore genre, shows were not hosted in venues near the capacity they are now. There are exceptions of course and these exceptions often make for the most intimate, intense and unforgettable performances known in the punk or heavy music community.

The early basement days are a significant part of history that, thankfully, bands and promoters worldwide are trying to recapture. For this spectacular event, a similar arrangement had been planned inspired by this sentiment for two extraordinary touring bands who originated from similar stages earlier in their career. It was obvious that this scenario was one they clearly preferred and it made for a memorable experience for all involved.

Local noisecore quartet A Ghost Orchestra had the distinct honour of opening this event, which had the band as excited about the prospect as the audience themselves. I refuse to call this four-piece “up and coming” as they’re well above that stature, but they are without doubt escalating in both professionalism and recognition with each show they play.

Opening with the combination of the first two songs, Commence and Hesitator, from their stunning EP, Vile Hymns, was practically a picture-perfect beginning and one that had their eager followers creating commotion very early in the evening. Maintaining the intensity throughout their short set, highlights included a Mighty Ducks huddle around vocalist Adam Geisler during one of the final songs, followed by a circle pit rotating around him for their single, Brown Teeth. Achieving this kind of crowd participation requires a stellar and commanding effort from a frontman, which Mr Geisler has become quite adept in. Next up for this outfit is supporting The Amity Affliction.

Late in 2014 California’s Touché Amoré saddened their worldwide following somewhat by announcing that after this Australian tour they’d be taking a break from their intense touring schedule. Seen as an “indefinite hiatus” by their legions of fans, this was quickly corrected as after six years and over 800 shows they simply needed a break, understandably.

This fact did not dampen the emotional hardcore quintet one iota however when they launched into opening track, Amends, followed quickly by Art Official, in which drummer Elliot Babin showcased his incomprehensible ability for fast paced and double-time drumming; while vocalist Jeremy Bolm flailed his whole body about screaming every word with heartfelt emotion. More favourites followed including Steps, Just Exist, Pathfinder, Praise/Love, Home Away From Here, DNA, The Great Repetition, Condolences, a cover of Nirvana’s Lounge Act (which Touché Amoré have recorded for future release) and the always favourite Honest Sleep, which Mr Bolm actually forced himself into the willing audience so they could scream the words acappella with him. They closed out their enormous set with ~, a song that runs for 90 seconds but is stamped on one’s memory for more like 90 years, almost bittersweet at its completion. Honestly, it was upsetting to know it may be years until Australia sees this five-piece again. It was nevertheless a fantastic way to say “so long” for now.

Twenty-fifteen marks the 17th year of existence for Buffalo’s much-loved hardcore sons Every Time I Die, an outstanding career which includes seven studio albums and arguably the best band documentary (borderline mockumentary) and mini-series ever released by a band involved with the genre. With a timeline of this magnitude and a consistency extremely hard to rival, one would think that the quintet could have become slightly jaded, not giving their all onstage for the umpteenth time. Well that’s all a bunch of “shinfo” to ETID – they were here to start the party.

With a ferocity that was, as far as this writer is concerned, completely unmatched in Enigma Bar, the five-piece erupted into Thirst, then Decayin’ With The Boys from their astonishing From Parts Unknown record released last year and the crowd were literally left in the wake of what these veterans were able to and continue to deliver. An unbelievable 18-song set, that somehow made it appear as if the five gentlemen from New York were able to read the crowd’s collective mind kept Adelaide in awe. Ebolarama, The Greatest Secret, Underwater Bimbos From Outer Space, El Dorado, Bored Stiff (the biggest singalong ever to “Hey there girls, I’m a cunt!”), Wanderlust, Overstayer, The New Black, Floater, Tip Your Bartender, Roman Holiday, The Marvelous Slut, Idiot, No Son Of Mine, We’rewolf and, to close, the extraordinarily eerie Moor, which, even just with a guitar, not piano, sounded better than the recording. Before the judgment is made that this was all with severity and fury, that couldn’t be further from the truth. Keith Buckley’s infamous fashion jokes were supplied at the drop of a hat, mostly revolving around a fan who tied his shoe in the middle of the intense mosh pit then went surprisingly missing. Call it “Keith health and safety”, but he did hope the punter departed safely.

While it’s probably a little to early to claim “show of the year”, this scribe is confident in saying this event got the year off to a champion start For The Record (pun intended).