Craig McElhinney And Chris Cobilis/Rachael Dease
The Rosemount Hotel
Wednesday, June 18, 2014
For over two decades, Earth has slowly built a collection of albums which allow the listener to experience an aural journey that Dylan Carson has methodically laid out. Touring in support of their upcoming eighth studio album, Dylan, Adrienne and Karl offered those who attended Wednesdays show at The Rosemount an early glimpse of what is to come on the soon to be released Primitive And Deadly
Early fans were treated to the improvisational stylings of Craig McElhinney And Chris Cobilis. Armed with two laptops, a guitar and a microphone, they slowly built up an industrial soundscape of white noise, atonal chords and snatches of distorted vocals. The first 15 minutes meandered a little until finally the two musicians seemed to find synchronicity. What followed was a set of tight rhythmic noise built from synth loops and heavy guitar feedback.
Up next was former Schvendes front woman Rachael Dease, backed by a small band consisting of guitars and drums. Probably one of Perth’s most hard working musicians, it’s a wonder how she finds time to put together yet another band between interstate and international tours, not to mention working on a production with the Perth Theatre Company. Dease coupled her funeral dirge-styled, slow bluesy sound with an incredible stage presence. Even when she is simply standing behind her synthesizer swaying in time to the music, it feels like she is singing her tales of failed love, loneliness and despair directly to you.
After a quick change over, Earth (stripped down to a touring threesome) took to the stage. Opening with the 20 minute epic Badgers Bane/Even Hell has its heroes off their upcoming new record. This new track harks back to their earlier ‘90s period, which has me excited to hear the rest of this release. With most songs being 15+ minutes in length, there was only so much material that could be covered in the 90 minute set. They switched between older, more drone and distortion laden tracks and the modern cuts which sounded like an Ennio Morricone record, slowed down and thrown through a fuzz pedal.
The thing you notice about Earth is that everything is incredibly deliberate. Each strum of the guitar, strike of a cymbal or drum is perfectly timed. It’s hard to believe that slow tracks, which grind almost to a halt, are able to lurch on, falling into each other, yet whip back at neck-snap speed into perfect synch. Its like watching slow motion chaos.
As the sonic barrage finally subsided and the tinnitus hum began ringing in my ears, I left quite happy. Although there was a small turnout, Life Is Noise had put on a hugely successful gig with just the right support.
SEAN DRILL
