– Col B.
Inspired heavily by the early work of Guy Ritchie:
Shot on Blackmagic Cinema Camera with a Xeen 24mm T1.5 Cinelens
B Cam – Canon 5Dmk3, MagicLantern RAW w/ Tokina 11-16 and Zeiss 35m Flektagon F2.4
– Col B.
My latest, filmed on BMCC, 5dmk3 (w/ MagicLantern), Glidecam and a Dji Phantom 3
– Col B.
Reposting a heap of galleries from late last year when I was travelling and not typing.
May 16th (Sydney)
Good morning Canberra and good bye, I mean the day had to start somewhere. We took the return trek back to Sydney today, where MS would be performing at The Hi-Fi, a venue located near film lots at Fox Studios. I took the time on the drive to write a few of these entries and attempt to start editing the slew of photos I had been collecting since the start of the week. This is one of the time consuming parts of being a tour photographer; where the hell do you find the time to get everything done. I also work a full time job outside of photography/video work, so my life can get a little bit more hectic than it usually would at certain times of the year.
The drive was reasonably painless, minus the usual ‘we’ll be there in 5km, about 5mins’ only to find half an hour later we were still on the road. That’s part of the pain/fun of touring, getting lost or finding your way in a city you’ve never been too, or rarely visit. After collecting more gear we arrived, the usual unload proceeded and sound check followed. During this time I went and hung out with the lads from Stories for a bit to see what made them tick; under it all, genuine dudes. It was around this time that I also met Jared Liebowitz, a photographer from Sydney, who 1) does great work and 2) is a nice dude and really personable to boot. I’ll take this time to shout out to Jared as well for giving me a lift back to my accommodation in Newtown that night, you’re a legend.
As the doors neared so did the fun, everyone was seeming to loosen up; tour was nearly done, people would get to see their loved ones and hopefully get to sleep in your own bed. There was an energy in the air that hadn’t occurred yet this tour and it seemed to be toxic, I mean it could have been my perceptions through a haze of bong smoke (self inflicted) but I dare say people were just in a more relaxed mood.
That mood in part was helped by Karl’s new drinking game, throw the coin in the bin, that simple. One corner of the green room had a large garbage bin, the other side couches, from said couches we were to throw a 5cent piece with the aim of getting it in the bin. If you land a shot you can nominate someone to drink, the nominated then gets a chance to bounce the punishment back if they land a ‘redemption throw’, if not drink. Thus was to be the circle of life for the next few hours until closer to MS hitting the stage. I learnt a few things during this game, 1) Karl isn’t good at his own game, 2) Karl is good at drinking beer really fast, 3) Ryan and I both scull like girls.
Stories and MS both killed it tonight, the crowd loved it and following the shows events I got to catch up with two of my closest mates who reside in Sydney. Stories were particularly hectic tonight, one part being it’s their hometown, the other that they (to me anyway) really really want to do something with the tunes. I dare say they will; and more quickly than some might expect with their signing to UNFD a good start for sure.
The next day would be an express Opera House visit then home for the last two (3?) shows; Misery Signals would be back in the city I first saw them and a secret show would be had at Crowbar, the best venue in the country.
to be continued in the final part…….
May 14th (Adelaide)
A first time for everything, that’s what today would be all about. In years of playing in bands and photographing them I’d yet to venture in WA, NT or SA but have always wanted to see more of this beautiful country. Today finally provided that opportunity. Adelaide struck me as an odd city, decriminalised green, churches everywhere, openly active street Graf culture, shisha bars left right and centre and some seriously cool modern architecture (I wish I had the time to take some shots). It reminded me a bit of Brisbane about 15 years ago before the population boom; almost makes it a big country town.
Tonight MS would be playing Fowler’s Live, a venue in the Adelaide CBD, surrounded by an inner city University campus. The facilities at Fowlers were amazing; the green rooms overflowing with the local drop and decent Wi-Fi that meant I could do some last minute catch up on work. A cold beer, a smoke and some caffeine in system and I was ready to rock and roll. Camera in hand I captured the night. Misery Signals blasted through their set, which I don’t think I’ll ever tire of nor want too. Tonight Craig and I also had a go at lights, which was more chaotic than I expected, but provided a great amount of entertainment.
After the show:
We had a 9am flight so after the show I took the time to get some more editing done and crash for a few hours, if even that. As the sun cracked, we stirred and the ramblers again got rambling.
May 15th (Sydney/Canberra)
One flight, a van pickup, a gear pickup and off we were from Sydney Airport to the Australian capital, Canberra. I love the drive to Canberra, something about the countryside between Syd-Can reminds me of the days of The Man from Snowy River or an epic western, I recommend driving it one day yourself. Taking over about a third of the way I put on some Joe Rogan Experience and cruised on one of the coolest stretches in this country.
Upon arrival in Canberra I proceeded to get us lost in a rabbit warren of side lanes and streets. The venue tonight is the ANU Bar, ANU standing for Australian National University. It’s a very American style campus, wide walkways, big trees and students always seem to be up to something even into the early hours of the morning. It seemed to help that weed is decriminalised in ACT so there was always a chilled out vibe emanating through the air. Finding the venue wasn’t so chilled but we got there in the end and we loaded in as per every night.
Once loaded in I was greeted by some very good friends, Aeon of Horus, who would also be supporting tonight; incredible band, check them out when you can. One of the most rewarding things about tour, if you can find the time, is being able to catch up with mates everywhere and tonight would be no different. I should say a big thanks to everyone who helped me out on this tour or gave me a floor, bed, corner or whatever to sleep on or in, it’s beyond appreciated. Tonight was also a great chance to have a decent meal and relax a bit more as the venue is within walking distance of a lot of great food options.
Stories took the stage, a group of awesome lads from Sydney, Australia, and what I witnessed was awesome. They play something heavy, dark but still retaining melody reminding me of a younger, more fine tuned Vildhjarta. Below is some of the chaos they bring to the live arena and also the first time I took shots of them on the tour.
Misery Signals were now up, the crowd was ready, moshing ensued.
Dan Harper (all round mad dawg) who was along for the tour was part of the reason this could happen every night, he’s a fun human and a great drum tech (Misery Signals drum tech) who’s talents were essential in making the show happen each night.
The night ended like any, Sydney was next.
Note: If anyone is wondering why I don’t write a lot about Misery Signals performance? I think the photos and video speak for themselves and if you’ve read part one your more than aware how highly I regard them as musicians.
to be continued………….
Full Galleries here:
Canberra – https://www.flickr.com/photos/colbcadellphoto/sets/72157644869790484
Adelaide – https://www.flickr.com/photos/colbcadellphoto/sets/72157644378208429
– Col B.
All music played by FHTTS.
Recorded by Ean Redman
Mixed by Arin Ozdemir
Feed Her to the Sharks Live at Thriller, Brisbane – 30/11/2013
Song: My Bleeding Heart Swims in a Seas of Darkness.
Album: The Beauty of Falling (2010)
– Col B.
– Col B.
Witches scream and cackle as they strip themselves bare to the flesh and conspire in acts of ungodly debauchery. Yes The Lords of Salem is a film with witches, not broomstick flying ones, but none the less. Think more along the lines of The Wicker Man or even in some cases The Town that Dreaded Sundown. So if the whole cauldrons and Satanism isn’t your thing, then you may wish to avoid this one. Thankfully old school horror had something that the modern medium is often missing, atmosphere; thankfully this is not one of those films. Nostalgia literally oozes from every interior and into each frame of film. We’re taken for a ride that is also decidedly old school as we get to experience not jumps scares or shock tactics but a legitimate building of tension; as to whether that pays off is up to you and your opinion.
We follow Heidi (Sherri Moon Zombie), a now reformed drug addict working on a late night Howard Stern style radio station. Rob’s other half Sherri is not the best actress in the world and struggles at times to make her character work. That said it’s a horror film of the late night type so I don’t expect little golden midget winning performances here. A vinyl (yes vinyl, not MP3 thank f**k) is sent to her workplace with no information other than it’s for her to check out. After some taunts and jokes from her workmates she takes the record home to give it a spin. After some drinks and late night listening we begin a dark and twisted journey. It’s a crazy ride with abstract visions, uncomfortable locations and even weirder people. That’s about as far as I’m willing to go with story though, as part of the fun is seeing how out of the norm this film really can be, particularly compared to say Rob’s Halloween remakes.
It’s amazing how simple the skewed angle of a shot or the uncomfortable droning of the soundtrack can affect you when you’re not being force fed queues like ‘Jump scare here’ or ‘must kill this person’. It’s refreshing to see a Director move from the completely violent to the abstractly barren. Honestly a lot of the discomfort comes from how long, Rob and cinematographer Brandon Trost (the dude shot Crank, The FP, MacGruber need I say more), choose to hold a shot and when to finally make that decisive cut call. John 5 also provides a score that is more than a little unsettling and gives that extra discomfort that a tale such as Lords requires. That said the sound design in this film is impeccable and really helps add that weight of dread to many scenes.
Rob Zombie has suffered from a mixed bag over the last decade while trying to break from his musical trappings into the world of cinema. Many find his films too odd, or confronting to be seen as a commercial let alone watchable film style. His new one will be no different, as he yet again makes some changes to his formula and just lets the ball roll. Now before you go into the film remember this… it’s not a ten million dollar horror film, this doesn’t have earth shattering scares or effects, but it does have atmosphere in spades and a rather old school appearance. This is a creature of nostalgia as much as it is a tribute. Every frame glows with a sense that Rob’s appreciation for all things John Carpenter (In the Mouth of Madness comes to mind) and Stephen King (specifically The Shining) is the centre piece of this film.
– Col B