Johnsysshots have become well known as one of the key promoters of the Merseyside grassroots scene; there is not a single promising indie band that slips by their attention, and arguably not a single venue that has not felt their impact. So whilst the promise of an evening of heavy music supplied by them was surprising, it was easy to feel assured that the talent would be some of the finest in the region.
Originally established to celebrate the release of False Thoughts’ single, ‘TALL’, the night had evolved to become a celebration of the band’s surprise debut EP release, ‘You Speak To Me As Though I Wasn’t Living’. Accompanying this headline act was a wide variety of acts that all present ‘heavy music’ in their own unique manner.
The evening kicks off with a set from the much hyped four-piece Arcadia Ego, who have made quite the name for themselves on Merseyside’s alternative circuit without even having released a single song. The break open their set with some high-octane post hardcore, before plunging into a waltzing number dominated by dreamy riffs that cascade about the listener. Immediately, it is clear that this is a band with the polish and drive of a band far beyond their size; their star quality is instantly recognisable.
Percussion from local drumming legend Loz Reily is performed with a crackling electricity, showcasing a clear understanding of how to get the most out of their kit, and how to deliver a performance that meets the demands of each song. There is little in terms of banter from the vocalist, but in place of that is a sheer intensity and emotive weight that makes him a commanding performer who understands that ‘heavy music’ is much more than just big riffs and breakdowns.
One track is dedicated to his younger brother, who he states is non-verbal and possesses complex needs. The pure emotion at the core of this track is tangible, as Arcadia Ego launch through a hurricane of a performance that builds up furiously before collapsing beneath its own weight into a blisteringly cathartic breakdown. The sheer vulnerability of this performance, if nothing else, commands total respect,
Moments of grunge intersect the post-hardcore backbone of the sounds at play, leading to a brilliant ebb and flow between moments of claustrophobic weight and sharp aggression. The band do not even need to ask for a mosh pit, as the crowd are more than happy to oblige based purely on what they can hear being played; being able to achieve such a feat as the opening act of a night speaks volumes as to just how compelling Arcadia Ego are as performers.
By the end of their set, it is clear that the hype surrounding this outfit is worth believing. Arcadia Ego already have a clear sound and vision that is impossible to not find deeply compelling. This is a group of accomplished musicians with immense potential, and you can’t help but wonder if their future is going to be very, very bright indeed.
Thirst commence with an instrumental overture that exudes an eerie, claustrophobic, gothic energy; it immediately forces you to pay close attention to the stage. From here, the band explode outwards into a flamboyant punk sound delivered with a vicious, acerbic humour, utterly consuming the room with their commanding presence and flair.
Prominent bass lines lend a distinctly nu-wave feel to their music, whilst the guitar work is frequently more of a haunting textural item instead of a home for riffs. Beneath all of this, however, is a ferocious punk energy that slowly reels the audience in, many of whom were evidently a little taken aback by the band’s theatrical entrance. Before long, a wall of death is conjured from seemingly nowhere, and upon impact, the entirety of the tiny room explodes into a pit. It is clear that the floodgates are open, and the audience now exist purely at the whim of Thirst.
Things only get progressively wilder from here on out. In the midst of a punk cut about the inherent stupidity to the logic of racists, a saxophone makes an appearance on stage, delivering swaggering melodies with a confidence that makes you wonder if saxophones have always been this fucking cool. The saxophonist makes his way to the tiny bar at the back of the room, and climbs atop it, whilst on stage, a piñata featuring Nigel Farage’s face is being battered. The band vault into one final musical drop in a display of utter musical madness and the room becomes an absolute circus of bodies moshing and dancing.
It is understandable that, after the rapturous applause eventually ceases, the band would seek to slow things down for just a little while, if only to get their breath back. In place of climbing the bar and piñatas arrives a glittering, cinematic cut that deals with body and gender dysmorphia. The saxophone remains as part of the ensemble, and delivers a heartbreakingly good solo that wonderfully brings to life the sense of vulnerability that exists at the core of this track.
The energy is ramped up one last time as Thirst deliver a bristling no-frills punk cut that speaks of their ability to not only be incredible theatrical performers, but pure, aggressive punks. It makes for the perfect close to their set, which has done everything to win over this crowd. Regardless of who you listen to, whether that be Taylor Swift, Sanguisugabogg or Neil Diamond, one thing is clear: you need to see Thirst.
Thirst is punk at its most artful, most cutting, and most fun.
Murdoch take to the stage with a simple but effective proclamation: ‘this is sad boy music, let’s cry together’. It’s the kind of mantra that instinctively gets the thoroughly emo audience to snap to attention, before the band launch into an utterly crushing set.
Furious walls of post-hardcore immediately set about pummelling the listener, whilst the vocals are viciously abrasive, torn at the edges by a pure emotional sharpness. The band make a simple demand that you feel something, and that is an easy request; they deliver their music as if they are living for every note, every beat, and every word.
Tracks are decorated with moments of blackgaze and hardcore, crushing down the audience with ferocious walls of sound that erupt from guttural grooves that command your attention. There’s an artfulness to Murdoch’s work that is uncommon to see; this isn’t heavy music for the sake of being heavy, but instead heavy music born from a place of catharsis, sorrow, and hope.
Their vocalist makes for an enigmatic yet wholly commanding figure, interacting with the audience with a wry, dark humour, before transforming into the human manifestation of mania and passion. ‘Continuing the light hearted vibes, this next song is about suicide,’ he amusingly declares, before plunging into an incendiary number that declares every moment fought back against the urge to die a victory; if you are still here to talk about the fact you are suicidal, you are winning.
A spoken word prayer is delivered over minimalist guitar work in a display of true musical beauty. Lyrics such as ‘ropes from trees should only be for rope swings’ offer potent imagery that, whilst haunting, is illuminated by a simple, indestructible hope for a better world for all of those who live in it. The audience are held captive by the performance, a moment of mournful peace in the sonic hurricane that is the rest of their set.
Murdoch finish up their set through tracks such as an ode to addiction in ‘Colours’, and ‘Talent’, marked by sludgy Deftones vibes and the crushing groove of a completely unrelenting bass line. It makes for a solid closing statement to their set that truly demonstrates the talented musicianship that runs deep within this band.
Murdoch offer something that is increasingly difficult to find; heavy music that feels purposeful. This isn’t something that is easy to listen to, but instead an intensely rewarding experience that exposes the vulnerabilities of being human in a powerful display. Tap into your inner sad boy, and give them a spin.
False Thoughts only formed in February of this year, yet here they were on their debut headline show, playing to a packed out Kazimier Stockroom. There has been a certain degree of hype surrounding this band since their inception, and now was the time for them to prove that the hype was worth believing.
The audience are summoned forwards towards the stage as the band file onto the stage, a clear eagerness in the air surrounding them. Then, before you even know it, the band have erupted into action with their single ‘TALL’. The sound of False Thoughts in a live setting is utterly immense, immediately consuming the room with a pure, unbridled energy and aggression.
Your body cannot help but move, wholly at the whims of the band’s commanding groove; demands for a wall of death are obeyed, and the ensuing mosh pit is suitably explosive. Even those who did not take part are dancing and moving in their own ways, with the jagged riffs and rhythmic syncopation pouring forth from the stage snagging something deep within you.
The lead guitar riff of ‘PREY’ is sonic dynamite to witness being played live, whilst the band’s six string bass truly comes to life on ‘SHOT’, thrashing at the air with a bombastic bluesy tone. A rowing pit forms in the centre of the room, and whilst moshing connoisseurs may have something to say about that, the fact the audience felt compelled enough by the music of these local rising stars to break a rowing pit out speaks volumes; truly, the atmosphere was one of celebration.
Before moving into their next track, their vocalist Mike Fenwick takes the time to speak about his muse; his son, and the hope the fatherhood gave him that permitted him to keep living. He demands that the audience sit down, before commencing the track ‘HOPE’. For a band so dominated by aggression, the softness of this moment carries just as much impact and weight as any breakdown or mosh call.
False Thoughts as an entity is composed of musicians who don’t just want to perform; they need to perform. Fenwick viewing this as his second opportunity as living is palpable in his performance, with every action taken by him both on stage and within the depths of the audience feeling purposeful. This show wasn’t just about celebrating a new release; it was about celebrating living against all of the odds.
‘HOPE’ reaches its dramatic conclusion, and as the instruments come crashing back down around the audience, the crowd vault to their feet, recharged, and break into a lethal pit. The emotive weight of this performance cannot be truly conveyed through words; this was False Thoughts living in the truest sense.
The night was closed off with one final explosive performance in the form of ‘PANIC’, and any energy left in the reserves of the audience are unleashed here. It is truly hard to believe that False Thoughts only formed this year; this was the sort of commanding display that local legends spend years building up towards.
Where now for False Thoughts? It’s easy to assume only up; they’re already performing in Manchester, but soon in might be then Leeds, and then Birmingham, and then perhaps even further. Their recorded material is fantastic, but their live performance is the kind of experience that spreads rapidly through word of mouth through the network of the underground heavy scene. False Thoughts are not only here to get you moshing, but to remind you that there is always a reason to keep living.
Follow the bands on social media below:
Arcadia Ego
Thirst
Murdoch
False Thoughts
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