Live review: The Darkened Seas EP Launch

When the celebrated rock writer Nick Kent published a collection of his best work, he chose the title The Dark Stuff. It was a fitting title and perfectly apt for a writer who seems to be drawn towards the great doomed genius-romantics of his selected artform: rock and roll – Kurt Cobain, Roy Orbison, Jim Morrison come to mind.

The Dark Stuff – that gothic romanticism which looks to the amoral, twisted and broken shadowland of human nature – has long been one of the most delicious aspects of rock and roll. Elvis Presley always had a sense of danger and violence just behind his sneering beauty. Gene Vincent, Link Wray, Richie Valens had it. The later more self-conscious Rimbaud-readers such as Jim Morrison, Lou Reed and Nick Cave cultivated it. And rock and roll fans love it, for within its black heart dwells the true rebellion and anti-social cool that has all but been leached out of the form by commerce and the plastic star-system.

Carl Manwarring is a musician in search of the Dark Stuff. His band, The Darkened Seas’ recent eponymous EP, The Darkened Seas contains five pieces of blues-bruised punk-rock that hit that dark mark five times. Hard. And at the recent launch of The Darkened Seas EP a packed Annandale Hotel found out the band’s music has enough rock and roll in it to keep your ass twitching as they drag you down to the bottom with them.

From garage-rocking opener ‘I Give It All’ Manwarring was all intensity and threat – his demeanour not nervous but edgy, not wild but abandoned. This was not 70s style blues-rock, nor purist roots-blues, but blues shredded through the strainer of punk – it calls to mind the Bad Seeds or Jon Spencer, at times even the dervish-like momentum of Junior Kimbrough.

During Doors-dark minor boogie ‘Nighthawks’ Manwarring’s voice and guitar-playing brought to mind Television’s Tom Verlaine, both in timbre and in the way both seem wound too-tight yet flow just fine. The New York thing is there – both ‘Circus Boy’ and ‘Shantyman’ have that Lou Reed economy with punk punch that works to great effect (the band’s name comes from a phrase in Reed’s VU smack-anthem ‘Heroin’). ‘Street Lips’ is a straight 12-bar blues that allows the character and power of the band to really rise up – there is nowhere to hide in this form and bassplayer Alek Cahill, keysman Luke Kirley and firecracker drummer Lozz Benson deliver beautifully. Everything Manwarring’s smart songs throw at them they eat up with a grin and a wink.

Manwarring has obviously steeped himself in the history and masterworks of his chosen musical path and this gives the music heft and dimension. His lyrics also are sharp and original – once again, he knows his shit. Hints of images that are surreal and dislocating (such as the ‘circus life’ of ‘Circus Boy’) recall Jim Morrison or Dylan, with some of his declarations of passion bringing to mind Nicks Cave or Drake. And you sense he means every word too – he is what a good friend calls ‘genuine’.

This is a talent to watch and a band to watch. The Darkened Seas have debuted surprisingly fully-formed in style and sound. They know the road they are on, now all they have to do is follow it and let it take them, and us, somewhere truly special.

 

Published June 2012 on theorangepress.net

 

Live review: Rose Tattoo/Annandale Hotel, December 2011

Years ago, when I was a jazzhead serious young insect, I used to cringe when reminded that Australia’s major contribution to contemporary rock music was Pub Rock. Nowadays I glow with pride.

AC/DC, Cold Chisel, the less arty side of Midnight Oil (who came up in the blood-and-sand pubs of Sydney’s Northern beaches), The Angels, The Radiators – hell, even Jet – have proven it and a thousand unknown but bullets-sweating guitar bands prove it every Saturday night. Even with a band as ‘grown up’ as Powderfinger it is just below the surface (vis a vis ‘Got You on My Mind’, pure and perfect pub-rock). The populism and boozy hedonism of Pub Rock also extends into Australian Hip-Hop, Blues and Country. Like it or not, it is a musical reflection of who we are and who we want to be – informal, inclusive and wildly colonial. And we do it so fucking well.

But none do it better than Australian hard rock’s once and future kings, Rose Tattoo. Formed around 1976, Rose Tattoo have never diverged from the path of perfect, flint-hard rock and roll. Styled from the start in the outlaw/bikie mold they have never become a cartoon of themselves, as AC/DC have, nor have they craved the stadium lifestyle (despite playing to hundreds of thousands in Europe where they are particularly revered). The slide-guitar (originally of Pete Wells RIP, and today of Dai Pritchard) has been a feature of the band since day one, linking their sound to the dark church of the blues as it howls and moans through their music.

Earlier this year, Rose Tattoo played a couple of shows at Newtown’s Sandringham Hotel. Fans couldn’t believe their luck – here was a band on par with AC/DC but in a pub, up very close and very personal. This says as much about the band’s street ethos as it does about how they see their connection to fans – stadiums are fine but you can’t touch the people. The shows were such a success that they repeated them on December 9 & 10 at the iconic Annandale Hotel.

The December 10 show that I caught was warmed up by The Corps (square-jawed punk with Oi flavours) and Black Label (superb blues-rock royale, a little Thin Lizzy, a little Led Zep, a lot tough as nails). During their last song I remember thinking that Rose Tattoo couldn’t possibly be more filthy, more urgent than what Black Label were putting out. But if course I couldn’t have been more fuckin’ off the money, as Angry might put it.

No announcement – what could you say? – and there they were, larger than life, black, dirty white and chrome, grizzled road dogs to an illustrated man. As the guitarists plugged in, Angry Anderson took the mic by throat, berating us all with a fuckin’ this and a fuckin’ that, bourbon in hand. Over the next hour and a half, he would throttle that mic to within an inch of its life, shredding it with his paintstripper voice (a national treasure in itself). There has recently been another man out there called Angry Anderson who has dallied with questionable right-wing politics; this Angry Anderson was a different animal, a tough little dog, seemingly three feet shorter than the towering guitarists around him and yet King of this leathered, bearded, boozed up domain. All hail!

There is a particular intersection of ecstacy where all your senses are filled up to the brim and, instead of panic, you just float. When the Rose Tattoo rock machine, counted off by drummer Paul De Marco, starts to roll, you either swim or sink. At asphyxiating volume, with the twin banshees of Anderson’s voice and Dai Pritchard’s slide eating at your vitals, it is a ride like no other in rock. The swagger and loose-limbed animal grace of their grooves is up there with the Stones and the songs are deceptively simple but brilliantly built – everything paired away for maximum dramatic effect. The storytelling blues “The Butcher and Fast Eddie” reaches back to the roots of their roots and the quieter, almost country “Stuck on You” (…stuck on you, like a rose tattoo…) shows some really tasty musicianship. With lyric vistas of bad boys (Ian Rilen’s “Bad Boy for Love”), jailhouses, violence (“Black Eyed Bruiser”) and honour over the top of these irresistible anthems, the effect is one of enormous liberation. For a few hours in our dulled lives we are Rock and Roll Outlaws and we never needed anyone.

Is it stupid? Is it art? Is it the cause of the decline of Western Civilisation? Oh what a pleasure it is not to think, but to feel and to wildly chant along to “We Can’t be Beaten” because for those three minutes, we can’t be. Rose Tattoo have allowed us to join their gang and we can face any-fucking-thing.

Published December 2011 on theorangepress.net