The Weapon Is Sound

The Weapon Is SoundMojos Bar
Friday, January 10, 2014

On an otherwise average, sweltering Friday night in Fremantle, The Weapon Is Sound unleashed a devastating sonic barrage to all those who rocked up (and rocked out) and backed up with a high volume of supporting fire.

First into battle were a reconnaissance team that consisted of electronic producer/DJ Leon Osborn and guitarist Cam Scott. They laid down mellow, watery beats that could be best described as a psychedelic take on synthpop. Cam’s vocals were rather inconsistent, clear one moment, muffled the next. Leon carried most of the set. At this point, the venue was relatively empty, so most were spared the relatively average performance.

Hip hop duo Girlfriend Material moved into position (along with Leon Osborn on the synths) and eased into it with almost nonsensical wordplay that jumped from topic to topic. The vibe they presented could be compared to Justin Northcote or Flight Of The Conchords if they were hip hop artists and their delivery reminiscent of old school hip hop from the ‘90s.

Child’s Play took it upon themselves to lead the charge. They led the crowd on the d-floor straight into dance formation, resulting in a quite cramped, sweaty and dehydrating experience. They included some smooth brass instruments and put them to good effect, emanating an easy-going and all-ages friendly vibe.

Brian Kruger, aka The Empty Cup, came afterwards, along with entourage. Unleashing a fusion of hip-hop, rock and some violins, the crowd truly surrendered by this point. In contrast to Girlfriend Material and Child’s Play, Empty’s set went along at a slower rhythm, but traded this for high fidelity and the chance to actually hear what he’s saying. Each instrument distinguished itself, and all of them together synergised for a very, very enjoyable set.

The hour struck midnight when the headline act, The Weapon Is Sound, jumped on stage, complete with a smoke machine to herald their arrival. Their arsenal is an explosive mix of old school rock riffs, the clear influence of reggae, echoing vocals, and packaged with psychedelic tunes loud enough to bust a bunker.

Clayton Lin