It’s hard to predict when an incidental experience might just lead to something bigger. Take, for example, our headline band back to their roots; when the mesmeric Milkie Way first met Sam Matlock as a gig photographer for his (now disbanded) ensemble Dead!. Her time in the pit that night, surely gave us the gift of Wargasm in Tokyo 2018, when she and Sam ed forces on the project – the by-chance birth of what I’d happily call one of my all-time-favourites. This humble gig photographer/reviewer doesn’t expect any life-changing career deals done on the back of Wargasm’s Venom tour, but that’s not to say it didn’t make one hell of an impact. Stagnating music ion stirred to life in me in that crowd. I haven’t enjoyed a gig this good in far too long.
Much like Milkie and Sam, I had the privilege of some new introductions that night; breaching anticipation with the dark and exquisite Harpy. Model-to-musician, she (quite fittingly) dominated the stage presence from her first steps forward in her fishnets and stomp-me boots. Watching her perform was something I could only liken to being hypnotised by a siren – eerie, feminine vocals in clarity-contrast with the abrasive riffs of her guitarist and head-banging drums. It was akin to being serenaded – or seduced – in a haunted house, and I mean that in the most complimentary way possible.
Harpy’s sound is an avant-garde invitation to explore the alternative and darker side of one’s own emotions, experiences and desires. It became difficult to pick stand-out tracks from the relentlessly outstanding set, with the popularly played “Medicine” and newly known “Not my God” both particularly stuck on loop in this reviewer’s head. I can only hope more of the lesser known singles will be available for streaming soon, so I can pay appropriate tribute to the earworms she drilled so deep in my skull.
What followed was like being shocked awake from a particularly pleasant, hypnotic dream.
Dropout Kings came to the stage with all the fire of a Molotov hailstorm, turning the nu-metal genre blender on full power. Mailliw Lau, or Black Cat Bill, took front and center with Kalan from the group Notions, filling in for regular vocalist and band-founder Adam Ramey. Sometimes, with substitutions, hiccups can be expected and readily forgiven, but no such hiccups took place. The professional skill from all involved left not a single beat missed. In fact there were somehow additional, more complex and impressive beats thrown on top. Guitarist Rob Sebastian and drummer Joe Lana jr. rocked out a hardcore cacophony that opened the jaws of the pit in the crowd, while Mailliw and Kalan swung their knockout lyrical punches.
“Bad Day” and “Something Awful” antithetical names for such violently energising music and even an adorable Piplup-plushie in attendance was thrashing it out over the heads of the audience. Mailliw and Kalan hardly took a gasp of air between bars and making every inch of the stage their own – beyond the stage even, with Kalan diving in among the ‘togs to get up close and personal with the fans, perched himself on the bar of the barrier. The talent was, quite literally, right in your face.
Both s, Harpy and the Kings, made themselves known at their merch stands after the sets finished; as keen to meet their fans as they were to put on an ass-kicking show. Appreciative of the personal touch, I made sure to say my hellos and both acts were as easy to shoot-the-shit with as they were to hear on stage. The genuine enthusiasm for their art, the post-performance buzz and excited for their fellow bands on tour was absolutely contagious. Good music, cool merch and artists who live for the music they make is the pinnacle of what makes a gig worth ing. I’ll this one for a long while to come. In no small part due to our main event.
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People pleasing can’t be a hard ask for a band like Wargasm, with so many number-one-worthy tracks to their name. And with a strong opener like tour namesake and debut album launch “Venom” it wasn’t hard to see why the crowd, now heaving at capacity, went wild. The album doesn’t hold back, embodies the creativity fans love to hear in Wargasm’s heavy metal synth-sound. Their music inspires us to reflect on the cold, disconnected troubles of a modern world where so many bleeding hearts still try to thrive. them in the atmosphere of a crumbling, electronic future where their devoted followers rave and rage out the pain. “Angry Songs for Sad People” couldn’t have said it better.
Milkie and Sam’s personalities play together perfectly, even as Milkie was chanted-over by the feral crowd, hungry for one more tune. Though she brought the crowd to heel to heed her request, rather her undying Need, for a circle pit. And while the glossy rocking rhythm of “Modern Love” played (if memory serves me right) I may have gotten a little swept up myself – after safely storing the cameras, that is. And I can confidently report that I’m getting too old for mosh pits. My poor ribs.
No such lack of vitality can be said of anyone on-stage, with drummer Adam Breeze even swinging from the rafters like it was all he could do to keep himself from drumming on. And this vintage reviewer didn’t miss the retro 80’s nod from his drum skin, with Snake Plissken proudly displayed on front. Guitarist Edison Hunter and DJ Adam Crilly were both intently focused and remained in their element for the duration of the gig. Understandably so, their attentive performances both key to the heart and soul of Wargasm’s sound.
Sam Matlock and Milkie Way’s vocal tête-à-tête was the perfect, complimentary parley one expects from a Wargasm show. Sam’s growling metal vocals coupled with the sensual, rich melodies of Milkie’s voice played just as well on the live stage as they do on repeat (and repeat again) from the recording studio. The SWG3’s TV studio was the perfect, more intimate venue to let these powerhouse artists resonate, from open to the loudly demanded encore. “D.R.I.L.D.O” and my personal favourite “Spit”, did not disappoint me or the rest of the crowd, who saw Wargasm off with the screaming applause a show like that deserved. All the while they were played off by Tina Turner’s “Simply the Best”, a quirky and clever little closer.
All-in, I couldn’t find an ounce of fat to trim from a gig like this. Not a moment felt like filler and not a note played I didn’t thoroughly enjoy. It’s never a bad time when you leave with some new favourites to blast on the drive home and sing along badly. And I did.
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Photos by Douglas McCrindle
