Brisbane’s pop-punk upstarts Two Times Shy are soaring lofty heights as they let loose their …
Osaka Punch + Majesty with Genetics & Les Majesty
The Factory Floor, Sydney
29th October, 2017
A recurring answer to the question of “what makes Aussie Metal bands so consistently good?” will likely be based upon the talent demands of the small but alive local scene. Therefore a musical prowess is needed to stand out from the pack.
MORE: #REALTALK: A Delonge Shot – We Want To Believe.
Such a hypothetical certainly rang true for Saturday nights showcase of national talent at The Factory Floor, with Brisbane’s jazz-metal Osaka Punch and Newcastle post-rockers Majora combining for an avantgarde, yet perfectly complementary night of unique, technically dazzling Aussie produce.
While I was unable to see locals Les Majesty’s set, Central Coast Genetics were in full swing when I arrived. With a sound similar in atmosphere to Plini & I Built The Sky but without the excessive technical wankery, Genetics still set a high bar for musical mastery, displaying impressive control with their solos and grooves. A talented group who will hopefully see more exposure in years to come.
Due to the date being part of the East Coast section of the tour, Osaka Punch came out before Majora, treating the healthy number of assembled locals to a blistering 45 minutes of the heaviest funk-metal they will ever hear.
Osaka Punch // By Kim Rudner Music Photographer
Think the enthusiasm and energy of Northlane and the antics of Mutemath meeting the cheeky cheesiness of party legends Tower of Power, and you have a rough sketch of an Osaka Punch set. Front man Jack Muzak (questions surround this surname) danced, pirouetted, moonwalked and somersaulted across the stage snarling, screaming and beautifully crooning to the audience, whilst his band mates tore through renditions of Served With Mustard and Make The Call, sticking remarkably close to the originals with added drum-fill fury from stick-man Dane Pulvirenti.
With a sound outside what most metal-heads would be drawn to, the musical variety of Osaka Punch’s sound allowed for musical indulgence beyond the traditional boundaries of the genre. Example A; Making use of the vocoder, Kanye West style sporadically throughout the set, B; A beatdown rendition of Salt N’ Pepa’s timeless Push It and C; a three-part harmonised rap a capella piece leading into the relentlessly heavy Battleworms (Escape From Doom). By the time the band’s set sadly came to an end, signalled by the eclectic Electric Jam On Boogie, Osaka Punch had proved themselves worthy earners of the ambiguous ‘ones to watch’ tag. They’re a truly unique band that can tear a room apart.
The sheer musical delight of OP’s set had those in attendance chomping at the bite for more heavy music, albeit in the form of some electronic-infused post-rock at the hands of Majora, but the age-old adage of technical problems here decided to real it’s ugly head. With an entire guitar rig going completely under (pedals and all), the band had no choice but to wait for an agonising hour while technicians diagnosed the problem before other bands on the bill stepped in by offering their own gear in a heart-warming display of musical companionship.
Finally getting started with only 20 minutes remaining before curfew, the band handled the situation wonderfully with front man Chris Hoole thanking the crowd for staying for a brief performance of “bangers”. Opening with Aphotic, the title track of their newest EP, those still assembled were given a taster of one of the most exciting new instrumental bands kicking around.
Osaka Punch had proved themselves worthy earners of the ambiguous ‘ones to watch’ tag. They’re a truly unique band that can tear a room apart.
Combining the heaviness of Sleepmakeswaves with the lush atmospherics and experimentation of Tycho, Majora performed three dynamic tracks filled with crushing guitars, mind-bending drum grooves and soaring synth pads. It was to-the-point post rock that didn’t take half an hour to make its point. It was a joy to watch, until the same guitarist had a guitar string give out on him at the climax of the band’s opus, Tidal. (Read our review of their EP, here.) While seeming (understandably) defeated and upset by the outcome of the show, one was struck by the power of the band, in addition to the admirable commitment to performing despite the chips being down. A character building experience for any band.
Bernard Fanning may have been wowing 900 people in the upstairs room, but the 60 or so punters that assembled for this bill downstairs witnessed not only a far greater technical display of both musicianship and songwriting, but also a glimpse into the crystal ball of a music scene that is going from strength to strength and unearthing artists that hold their own on the global scale. A fantastic look at both the standard and the future of Aussie heavy produce.
