Review: Void Of Vision at Magnet House

Void of Vision at Magnet House
w/ Gideon, UnityTX, Knosis
Saturday, February 22, 2025

Perth’s Magnet House hosted the final chapter of an era in heavy music as Void of Vision graced the stage one last time. The What I’ll Leave Behind tour, a farewell to a band that had been a defining force in the Australian metal scene, brought together fans for a night of pure energy, raw emotion, and unfiltered chaos.

Alongside an eclectic mix of support acts in Gideon, UnityTX, and Knosis, Void of Vision’s swan song was more than just a performance. It was a celebration of a legacy, a poignant farewell, and a reminder of the profound impact they had on the scene. As the crowd collided in the pit and lyrics rang out in unison, the weight of the moment was clear. This wasn’t just the end of a tour; it was the closing of a chapter that would echo long after the final note.

The night kicked off with sheer, merciless chaos as former Crystal Lake frontman Ryo Kinoshita stormed the stage with his new project, Knosis. Barely a moment to breathe, and Kinoshita was already launching into a psychotic barrage of “Let’s go!” which he shouted at least ten times in rapid succession, setting the tone for the madness ahead. With dreadlocks whipping through the air and matching baseball jerseys adding to the aesthetic, Knosis delivered a spectacle of pure vigour and aggression. Nu-metal is back, but with a distinct metalcore edge, and for a moment, you’d be forgiven for thinking you’d stumbled into a Dyscord show, throwing down to their mosh-friendly post-hardcore grooves. The pit was already in full swing, leaving frustrated merch-line punters wishing slowpokes would stop deliberating over hoodies so they could get the hell into the action.

Standout track Imi Oni had the crowd howling back its signature battle cry “What do you want?” while moments of absolute chaos made way for slap bass funk from Kosuke Tano and bass-driven synth stabs. With hands waving side to side before the next crushing breakdown, the relentless energy didn’t let up for a second. “Move! Move! Move! Move! Right fucking now!” Kinoshita roared, igniting pure mayhem. Not since Chris Gayle has an opener caused such chaos, and with just as many dreadlocks! Next came an unexpected curveball: a cover with the unmistakable build-up to Machine Head’s Davidian. When the words “Let freedom ring with a shotgun blast!” exploded, Knosis made it clear they’re here to honour the heavyweights while carving out a path of their own.

The string instrumentalists, meanwhile, brought more twirls than a crabcore band, as if they were determined to bring back every lost art of 2000s metal. Even the 40-somethings in the crowd looked inspired to start nu-metal bands of their own, just to recapture that bouncing energy.

As the set ended, Kinoshita mounted the barrier, leading the pit into one final, frenzied charge. His voice, somehow still intact despite his throat-shredding delivery, rang out one last time: “Go Go Go Go!”

Perth eagerly awaits the return of Knosis! yoku dekimashita, motherfuckers!

As the LED backdrop at Magnet House finally flicked into action, a snarling UnityTX bulldog grabbed audience attention, setting the tone for what was to come.

Hailing from Dallas, Texas, the band wasted no time launching into their genre-bending assault. UnityTX is equal parts ferocious metal and razor-sharp hip-hop. Frontman Jay Webster commanded the room with a seamless fusion of rapid-fire raps and guttural growls, with his dynamism matched only by the intensity of their sound. Opening with CROSS ME from 2019’s Madboy, UnityTX made it clear that this was their long-overdue moment to be celebrated on Australian shores.

“All you motherfuckers standing around, get in the fucking pit,” Webster demanded, and the crowd obeyed. The night’s diverse line-up gave off serious 1998 Family Values Tour vibes, a fitting backdrop for PLAYING FAVOURITES, the title track from their latest 2024 EP. Channelling the spirit of Children of the KoRn, the band’s diverse sound resonated deeply, especially with the fans rocking KoRn merch in the crowd.

Bassist Kendrick Nicholson delivered an electrifying performance, culminating in a shotgun pose during BURNOUT from 2023’s Ferality. The pit surged as Webster rallied the crowd, “Put your motherfucking hands up!” while guitarist Ricky Cova laid down punishing, mosh-friendly riffs.

The eerie, slow-burning synth of DIAMOND DIEZ provided a standout moment, its goth-club undertones reinforcing UnityTX’s fearless experimentation. Drummer Jonathan Flores showcased his range, seamlessly shifting from previous brutal tracks to a song that required more precision. Then came the eruption, Webster leading the charge with a venomous chant, met with an equally rowdy response from the mosh pit: “S, A, D, bitch don’t fuckin’ love me!”

With one final surge of adrenaline, Webster took control and pushed the crowd to the brink with a simple request, “If you’re a pussy bitch, stay back. Real motherfuckers get up. Fuck somebody up, I don’t give a fuck!” before dropping into the bone-crushing groove of ROC SH!T.

And just like that, Webster left the Perth crowd with one last parting shot: “So suck my fuckin’ dick, I know my worth!”

Perth does too. We eagerly await UnityTX’s return to our shores.

In the time it took for the stage crew to complete a changeover, Magnet House was transported from the gritty bounce of UnityTX to the Southern-fried intensity of Gideon. Striding onto the stage, frontman Daniel McWhorter, donning his trademark cowboy hat, looked every bit the battle-hardened frontman, ready to lead the charge, and there was no time for pleasantries.

“Move this shit! Move this shit!” McWhorter barked as Gideon launched into No Love/No One, their crushing grooves and syncopated double-kick assault immediately engulfing the thickening crowd. The response was a frenzied welcome from the Perth faithful.

If UnityTX were Children of the KoRn, then Gideon are the ones farming it. McWhorter’s cowboy hat only reinforced that image, as he herded the pit into absolute anarchy.

Shifting into Locked Out of Heaven, the band maintained their punishing pace. McWhorter’s throat-shredding cries, “I’ve been locked out!” were backed by guttural backing vocals before a fat breakdown sent the pit into bedlam. With the entire venue finding a breath, McWhorter took a very brief moment to acknowledge the crowd, drawling in his thick Alabama accent, “Thank y’all so fuckin’ much!”

Guitarist Tyler Riley delivered slick, razor-sharp riffs, while bassist Caleb DeRusha, one of the rare musicians who can pull off wearing sunglasses on stage, brought a commanding presence alongside drummer Jake Smelley, whose percussive precision kept the set locked in with crushing momentum.

McWhorter’s grip on the crowd was as tight as his grip on the mic, and maybe too tight. Wrapping the cable around his hand a little too aggressively, he appeared to either bend the mic pins or damage the XLR connection, causing his vocals to briefly cut out. Luckily, the stage crew were swift to remedy the situation.

“From the left to the right, pick a goddamn side! Let’s go!” McWhorter demanded, as the band erupted into MORE POWER. MORE PAIN., the title track from their 2023 record. Riley’s meaty riffs cut through the mix like a butcher’s blade, while McWhorter’s sustained growls fuelled the inferno of the pit. Take Off saw the crowd roaring along, matching the music’s relentless intensity.

The set hit fever pitch with a passionate rendition of TAKE ME. Opening with a deceptive moment of calm, the track’s clean intro lulled the crowd for just a breath before detonating into a surge of fury. “You’ve got me by the throat!” McWhorter roared as the pit surged, leading to a punishing breakdown, “Lock me up. Throw away the Key. Go!” From here, the song felt like a never-ending onslaught of breakdowns, each riff hitting harder than the last, if not for the chord-driven chorus riffs. The crowd’s stank face deepening with every groove. By the time the circle pit reached its boiling point, it was clear there would be bruises in the morning.

Pausing for a moment of reflection, McWhorter acknowledged the night’s significance for Void of Vision, while also reflecting, “The first show we played in this country was right here in this venue.” Just like that, Ryo Kinoshita from Knosis stormed the stage for a throwback to 2017’s Cold, delivering a ferocious guest spot on Cursed.

For the final push, McWhorter rallied the troops one last time. “One more shot. Everything you’ve got!” Gideon tore into BITE DOWN, their closest brush with rap-infused violence. McWhorter spat venomous lyrics, “Turn this shit up, all the way up, I’ve given up on giving a fuck!” while DeRusha fired back with searing backup vocals over the track’s already bass-heavy foundation.

And with that, the band exited the stage, McWhorter delivering one last defiant statement, “We’re Gideon, and don’t you fucking forget it!” As they disappeared into the wings, Lynyrd Skynyrd’s Sweet Home Alabama rang out over the PA, signifying one last nod to their Southern roots.

In keeping with the current trend of heavy bands choosing unexpectedly sentimental house music before their sets, Goo Goo Dolls’ Iris rang out through Magnet House, a moment of calm before the storm that was about to unfold. As the final notes faded, the man of the moment, Jack Bergin, emerged at centre stage, donning the metallic headgear made iconic by What I’ll Leave Behind’s album artwork. The room collectively held its breath as he delivered a hauntingly ethereal rendition of Beautiful Things, a moment so emotionally charged that even the most hardened fans couldn’t hold back tears. Knowing this was the last time Void of Vision would ever grace a stage, the weight of the moment hung heavy over Perth’s crowd. A rare, profound silence filled with admiration and grief.

But sentimentality was short-lived. As the atmospheric sound design shifted, Bergin shattered the stillness, demanding “bat shit insanity for one last time!” as his bandmates stormed the stage. Without hesitation, they launched into Oblivion, with its intensity met by a very enthusiastic response from the pit. The energy remained unrelenting as they tore into Blood for Blood, the entire venue bouncing in unison as the crowd chanted back, “The blood, the sweat, the tears,” bodies colliding, limbs flailing. It was a pure, unfiltered celebration of Void of Vision.

Delving into their 2023 Chronicles era, BERGHAIN and INTO THE DARK saw a hero’s welcome, the surging crowd proving these tracks had already cemented their place in Void of Vision’s legacy. Then came Neurotic, its infectious groove giving James McKendrick a moment to shine, seamlessly shifting between guitars, keys, and soaring clean vocals, while Bergin’s commanding presence ensured the crowd stayed fully engaged.

“If you know this fucking song, if you know this fucking band, sing it out loud or bounce around, let’s go!” Bergin roared, inciting a sea of clapping hands and movement as HELL HELL HELL obliterated the venue. This back-and-forth between Chronicles and What I’ll Leave Behind continued as Gamma Knife turned Magnet House into a warzone, crowd surfers riding waves of hands, screaming lyrics skyward as if they were writhing in pain on a bed of nails.

Bergin once again seized control, setting the stage for DOMINATRIX with one simple instruction: get airborne. A flurry of bodies took to the air, launching over the barricade as the track’s punishing riffs turned the pit into a living, breathing beast.

Then came Angel of Darkness, its presence even more significant given the band’s 2023 tour of the same name had graced this very venue. The emotion in the room was tangible.

Taking a moment to acknowledge the tour’s supporting acts, Bergin praised Knosis, UnityTX, and Gideon, a sentiment echoed by the audience’s deafening cheers. The nostalgia train then rolled back to 2019’s Hyperdaze with Decay, its meaty down-tuned riffs rattling the foundations of the venue.

It was clear rhythm guitarist Mitch Fairlie was pushing through an injury, as he retreated to the drum riser to play seated. McKendrick, ever the showman, took this as an opportunity to interact with fans, working both sides of the stage with effortless charisma. Then, in a moment of pure chaos, members of Knosis and UnityTX burst from backstage, launching themselves full-speed into the crowd, sending the energy levels through the roof.

Year of the Rat followed, with Bergin seemingly pouring every last drop of himself into the performance. But the true eruption came with the breakdown of Kill All My Friends. A pit-igniting, double-kick-laden beast that saw George Pfaendner putting on a percussive masterclass. A brief reprieve in the form of ethereal sound design led into deep cuts from Void of Vision’s early days, with Ghost in the Machine and Nightmare serving as a reminder of the band’s formative years playing all-ages gigs at HQ Skate Park and next door at Amplifier Bar. The pit roared in appreciation, pushing themselves to new levels of movement and intensity in honour of a band that had defined over a decade of their lives.

Returning to their latest material, Midnight Sweats impressed before Pfaendner took centre stage for a thrilling drum solo. Ever the entertainer, Bergin used the moment after Pfaendner’s percussive exhibition to poke fun at long-time complaints about Void of Vision lacking a bassist, exclaiming, “So we’re gonna give you three right now!” as Kosuke Tano (Knosis), Kendrick Nicholson (UnityTX), and Caleb DaRusha (Gideon) stormed the stage for ALTAR. Dreadlocks thrashing like a KoRn video.

As the night neared its climax, the audience found their collective voice for THE LONELY PEOPLE, electrifying the air. Then, in a moment of honesty, Bergin delivered a speech that will be remembered long after the last note faded:

“It was fucking expensive to get over here for the first time. We were in financial fucking ruin. We were just a bunch of kids trying to get over here for the first time, and we burnt fucking holes in our pockets. We came all the way to play some venues, a little one called YMCA HQ. The all-ages scene here stood the fuck up for us, and we appreciated that shit so much! We made so many friends over here and met so many backstage tonight, it’s fucking filling our hearts with joy! It’s been fucking insane, and I love that we’ve built something from the ground up here, because this is a fucking showing! Thank you so much Perth for coming out tonight!”

“The whole gist of this tour is the What I’ll Leave Behind tour, and I think what we do want to leave behind is that fucking message. Only 10 years ago, there were about four people who would have known our songs who came to these rooms, but you stuck with us. You guys coming over to Knotfest in Melbourne, we’re sorry Perth doesn’t get the shit it deserves. We are really fucking sorry. But, Destroy All Lines, touring worldwide, everything is coming here, and they’re doing everything they can to keep you guys coming out, and that’s why they keep bringing it to you, and you guys need to keep fucking coming out. Because that is why it will keep fucking coming! Keep doing this!”

“Anyone 18 or around that age, just start a fucking band! Don’t be scared, that shit will come. It’s just fucking hard work, and I know it’s a different world out there, but you just got to do what you got to do. It’s never too fucking late! There’s moments, and we need to build this back up from the ground. There’s people like us leaving, and it’s making more room for you guys to come and start this shit up. That’s all we’re trying to fucking do with this tour!”

“Get out, please support that local shit, support the local scene, get out to local shows, and support those fucking bands!”

At times, Bergin’s impassioned words were nearly drowned out by the roar of the crowd; their overwhelming response a testament to the night’s significance. One by one, the members of Gideon, UnityTX, and Knosis joined the stage, along with the crew, creating a final, unforgettable snapshot of the tour. On stage, bands stood shoulder to shoulder, signifying the deep bonds forged throughout the tour. While in the pit, fans clung to each other, united in their shared love for Void of Vision and heavy music.

A burst of confetti erupted from the stage, prompting Bergin to joke about spoiling the surprise. With the stage now packed to capacity, he launched into the encore, Empty, belting out the opening lines before handing the moment over to the crowd, who passionately took up the challenge. The tour ensemble bounced across the stage as another wave of confetti filled the air, while Magnet House’s iconic tessellating triangle lights descended, adding to the spectacle.

Bergin, with unrelenting energy, shouted, “Watch me fucking bleed!” The outcome was one last moment of slam dancing, headbanging, moshing and utter havoc. The crew continued the long-standing tradition of dismantling the drum kit mid-performance, much to the comedic entertainment of the audience. Then, in true rockstar fashion, Bergin hurled himself into the sea of fans for a final stage dive, even managing to reach out and make contact with those signature Magnet House triangles. The crowd carried him back to the stage, where he offered one last round of thanks before stepping down to personally high-five as many fans as possible.

Setlists, picks, and drumsticks were flung into the eager hands of the audience, and as the final note of the night, the unmistakable theme from Curb Your Enthusiasm played over the PA, which was an ironic, light-hearted sign-off to an emotionally charged farewell.

As the confetti settled, there was an unspoken understanding among those in attendance. This was more than just a gig; it was the closing of a chapter that had shaped lives. The camaraderie, the sweat, the riffs, the screams, and the shared moments of catharsis will live on, but the hole left by Void of Vision’s departure is undeniable.

For some, music is more than just a passion. It’s a lifeline. The end of a band as impactful as Void of Vision carries a weight that extends beyond the stage. The final moments of the What I’ll Leave Behind tour were a celebration, but they also underscored the deep connection between heavy music and the community it fosters.

Much like ears ringing after a show, the absence of a band that’s meant so much will linger. But music never truly dies. It evolves, inspires, and finds new voices to carry the torch. When bands break up, it’s important to check in on the friends who keep the scene alive and to support the band members who poured their hearts into their art.

Void of Vision cemented their place in Australian heavy music history. The What I’ll Leave Behind tour was a celebration, a farewell, and a legacy-defining moment. If there’s any justice in the world, this won’t be the last time we see Void of Vision on stage.

ANDY JONES

Photos by Muhammad Imran