The Maggie Pills opened up tonight’s show with their energetic quirky style of punk/art rock. This Melbourne sixsome are edgy and vibrant. I have seen The Maggie Pills a couple of times now and each time they have managed to engage me with their impressive sets. Tonight was no exception. The bands short but powerful seven song set included five songs from last years “Hope Is A Risk” album.
Front woman Delfi Sorondoin’s appearance and charisma reminds me of Pris from Blade Runner mixed with Magenta from the Rocky Horror Picture Show. Her stage presence is commanding and engaging; eclectic and spellbinding. The band are tight and al look to be having a blast on stage. Watching and observing the band from the audience after my three songs in the photo pit Sorondoin has a way of drawing you in and hypnotising you so that you simply can’t look away. With each song as the crowd grew more punters were left is awe of what they were witnessing.
As a band they work really well together, tights as hell and sounded great. The Maggie Pills undertones of goth, grunge and indie rock make this band really hard to define into a single genre. On record they sound exactly as they do live, the bonus of seeing these guys live is the energy that radiates from the stage. If you missed seeing The Maggie Pills live, please make sure you catch a show when they play next.
Stand out songs in tonight’s set were ’Unbound’, ‘The Freedom Club’, ‘Banality Of Evil’ and ‘Rip My Heart Out’. I couldn’t be happier with this being my first gig of 2024.
The Maggie Pills Setlist: Gold, City Rats, Unbound, Freedom Club, Banality Of Evil, Rip My Heart Out, Hope Is A Risk
Batpiss are no strangers to the stage, once dubbed as the “Kings Of Collingwood” they have become an intrinsic part of the Melbourne music scene for over two decades. Most of this time was spent as a three piece, tonight they were a four piece which added a whole new depth to their sound. Primarily know as being a punk band tonight their set tonight focussed more on the progression of the band, their songwriting and what some would call the next phase of their evolution which began with 2019’s “Rest In Piss” album.
Tonight was the first time seeing them live and they did not disappoint. There is an energy to these guys that is unmistakable it’s driven by a groove that is slightly sludgier live than on record. Performance wise they are fun to watch. By the time Batpisss were half way through their set The Croxton was pretty much at capacity and the audience had engaged completely with them. For the first half of tonight’s set we had a switch between Thomy Sloane (Bass/Vocals) and Paul Portal (Guitars/Vocals) trading instruments and then switching back for the last half of the set.
The bands talking interaction with the audience was kept to a minimum as Batpiss were clearly all about letting the music do the talking for them tonight. Set highlights ‘Weatherboard Man’, ’Drone’, ‘Tell Them My Name is X’ and ‘Paralyzed’
Batpiss Setlist: Future, Weatherboard Man, Cancer, Drone, Stay With Us, N.U.M.N., You & Me, Tell Them My Name Is X, Paralyzed
In many ways tonight was a celebration of a couple of things; the obvious one being the 1995 album “Ill At Ease” being played in full, but the more underlying reason was to celebrate is that 2024 marks the bands fortieth anniversary. Having spent the first few years of their career finding their identity the band transitioned from being a punk band into something harder and heavier. With touring and writing became more focused and the bands debut “Battlesick” which in my eyes is one of the greatest debut albums by any Australian band. By 1989 The Mark Of Cain had already begun pioneering their own brand of dry, complex heavy grooves with near narrated aggressive vocals that was so unique to Australian music.
The band’s second album “The Unclaimed Prize” nurtured and experimented further into what would become the signature sound of the band by 1995. In many ways The Mark Of Cain were ground breakers in what they do. Gaining the attention and interest of Steve Albini back in 1987. With a continued interest Albini stayed in touch with the band. Albini who produced the bands 1993 EP “Incoming” also brought the band to the attention of Henry Rollins who produced and financed “Ill At Ease”. It always begs the question wasThe Mark Of Cain sound emulated and polished by American bands such as the likes of Helmet and The Rollins Band. Clearly Rollins had influence on the bands now polished yet aggressive sound on this album. It’s an interesting though and topic for consideration, for me its a bit of which came first the chicken or the egg.
This piece as much as I think history plays a part in its telling is also about what The Mark Of Cain deliver live in 2024. Nearly 30 years on, how do the band go delivering such a well written, recorded and produced album live? Have they lost anything along the way?
Tonight was the 2nd last show of the “Ill At Ease” tour which was a postponement of what should have been the first show on this run of dates back in October of 2023. While we had to wait of this rescheduled date it was without a doubt worth it. In fact tonights show was a world class show of what it means to be a band that is so rigid and taut in its delivery. This collection of songs that make up “Ill At Ease” are all rock solid and rigid in their make up. For me the studio recording of this album, produced by Henry Rollins is immaculate in every way. It’s polished and technically precise execution is world class. How The Mark Of Cain aren’t household names internationally through this album is beyond me.
The Croxton Bandroom’s capacity of 900 was pushed to its limits tonight. The room was hot, sweaty and loud. Not only were The Mark Of Cain loud; they had some of the best sound I have heard in that room, details in the technicality, aggression and finesse were never lost or showed signs of losing their impact. In fact I would have to say that tonights show was one of the best shows sound wise I have been to. Tonights crowd was certainly not afraid to be vocal in singing along and verbalising their appreciation for tonights set.
The rhythm section of Kim Scott and Eli Green is on par in its technical ability with progressive rock greats like Rush. Their syncopation is something to be in awe of and Green is one hell of a player. Kim Scott’s baselines rumble and crack like heavy military fire, they sit with sniper precision on top of Greens drums. John Scotts guitar tone sits perfectly from at time lush and otherwise razor sharp. John Scotts generally brash and barked vocals lines were delivered effortlessly. As a band musically it’s hard to actually describe how well all the parts just fit together, they just do.
Kim Scott’s presence on stage is something to behold, his ability to intimidate you with just a glance while holding his rigid stance. Kim reminds me of an unflinching drill sergeant while he effortlessly puts his foot to the floor and delivers bass lines that you not only hear but feel.
Overall this set was the highlight of tonight. The Mark Of Cain were on point in every way. If you haven’t experienced this band live, you need to change it fast. Tonight was nothing short of a celebration of great bands and the amazing “Ill At Ease” album I couldn’t be happier with this being my first gig of 2024.
The Mark Of Cain Setlist: Interloper, Hindsight, First Time, Remember Me, LMA, Details, Walk Away, You Let Me Down, Tell Me, The Contender, Point Man
Photos by Shot by Slaidins Photography
With thank to Dave Laing Publicity for the media access.
