Live Review: Fear Factory, Thy Art Is Murder, Truth Corroded

Being a local opener for an international heavyweight can be a tough ask, even when you have a long history with the headliners. Adelaide's Truth Corroded attacked the opportunity with vigour and had punters up-front politely banging heads. But a flat, uneven mix (tone down the triggers next time, lads) and limited number of songwriting tricks meant their metalcore-tinged thrash petered out somewhat.

This show wasn't a true indicator, but Thy Art Is Murder are becoming a mighty big deal. Soon to release monstrous new LP Hate, the proudly Western Sydney mob's airing of heavier-than-a-bag-of-spanners-on-Jupiter new cut Reign Of Darkness indicated how far their once knuckle-dragging deathcore had progressed. The bill represented a double-edged sword for them; a chance to reach an audience outside of their usual realm, but one which subsequently didn't afford them the type of reaction they're accustomed (i.e. numerous circle pits erupting). Lack of pit ninjas aside, they have improved considerably from past showings, earning a warm reception.

“Dino and I have been feeling a little nostalgic lately.” Fear Factory frontman Burton C. Bell may have been referencing himself and axe-slinging fellow mainstay Dino Cazares celebrating 20 years since the release of debut record Soul Of A New Machine, but he could just as easily been referring to the sweaty throng of punters who moshed and crooned like 1996 never ended. Although opening with the cinematic title track from latest disc The Industrialist and touching on newer material (Fear Campaign, Recharger), this audience wanted to party and the crowd-pleasing Los Angeles metallers were their soundtrack of choice. Justly, they were rewarded with numerous “hits” as punters pogo-ed, thrashed about and danced.

Separating their 90-minute foray into brief album blocks wasn't a new move, but still works. The early Shock, Edgecrusher and Smasher/Devourer trifecta (from 1998's Obsolete) had the pit writhing and numerous beers thrust in the air in approval, while a closing volley from classic Demanufacture was the only way to wrap up proceedings. New rhythm section Matt DeVries and Mike Heller were occasionally prone to miscommunication, but still punishing. Bell's clean vocals have long been a hit (Zero Signal) or miss (Linchpin) proposition live, with more of the latter nowadays, but this rabid audience didn't seem too concerned. Amiably acknowledging our nation as the first to “get” Fear Factory, two decades on their connection with Aussie audiences shows little sign of dissipating. Keep on fighting those machines of hate.