Warm Drag


Woman You Stole

Curiously we start with the strongest (my opinion, don’t axe me) of the support acts, a local 3 piece that is dominated by overpowering (Ship of the Line about to commence firing vibe) drums and a robust lead vocal (a soaring, Siouxsie Sioux-esque quality) that binds tastefully with a (at times) more eccentric backing vocal (Easter Island chanting?). In the backseat of this oddly painted automobile comes what I suspect to be the sound of Alan Rickman’s voice manifesting itself into bass guitar format, in tandem with guitar playing that varies from chimed notes, punk-like shredding and even delay effects that certainly put the lo in lo-fi.

Further content from their consistently entertaining set list includes instructions on how to dance (Shake), wrong-footing the audience into a false applause (Sweet Cherry Wine) and even a segment of French spoken word (Pardon My French). With this insurmountable evidence, it all but debunks the myth that the opening act by default is of a lesser quality, quite the contrary in this case. Oh, food for thought, these guys will be playing at the Deco Promotions ‘All Dayer’ (situated at the Peer Hat on the 9th February), alongside a number of other worthwhile musical entities; indulge yourself!


In continuum, an alternative-leaning 3 piece graces the stage with a somewhat simplistic rhythm section (though that soon changes) and a distorted guitar style that doesn’t invoke anything compelling (at least in my eyes), almost giving their instrumental cousins too much leeway and not leading the charge like it is supposed to. The vocals, while valiant in emotion at times, couldn’t seem to match the rather overbearing volume (maybe the sound guy is at fault, maybe not), however the backing vocal curiously appears to have more power to it than what it was supposed to be in support of.

While I do appreciate powerful surges of energy in rock music, frequent chorus-explosions/climaxes lend a formulaic sensation to the observer in me, though to disparage this band is by no means my intent. The complexity of the playing improves steadily as their set list progresses, the occasional Thayil-esque riffing and the volatility of the beat catching my interest in particular.

Fruit Tones

In continuum (have my paragraph openers run dry?), yet another 3 piece emerges from the confines of the backstage area; featuring a drummer with an almost inhuman ability to maintain a fast paced, beat-the-shit-out-of-your-kit methodology (without missing out notes), vocals (vaguely Lennon-esque, though I’m probably wrong) that depending on the song switch between who gets lead, Chuck Berry-orientated riff wanking and proficient bass playing that could do with just a little more room to groove (it’s the sound guy isn’t it?).

Similar to their predecessor, I feel the youthful exuberance-choruses and impassioned climaxes start to invoke a feeling of repetition; again, not a knock at their ability as this band reeks of potential, they have uncommon elements that make them standout somewhat. The vigour projected throughout their set list, a guitar tone sadly seldom seen in the present day and an energetic rhythm section will certainly keep the interest of the spectator in place, as they proceed upwards… toward the illuminated signpost that a growing following brings?

Warm Drag

And lastly (seems they haven’t) the headliner, an electronic duo consisting of a vocalist and a synthesiser/rhythm machine/spaceship control-panel operator; I observe the extensive wiring awkwardly protruding from the ring modulator attached, it adds a cyberpunk Heath Robinson element few could have anticipated. The machinery itself alternates into varying textures of delirium; anything from ambient nightmare, demonic anaesthesia, running down a dark alley to escape a cyborg and even gothic rock (without guitars). In conjunction, the Nico-esque vocal drone almost tries to personify what it would be like to become the protagonist of any of the aforementioned scenarios, adapting to changes in the rhythm to assist in maintaining the alarming, spilled-motor-oil-on-circuitry type theatrics occurring in front of the audience.

The way they hark back to the 1980s and tie in elements of genres as unsettling and varied as darkwave, industrial, dub, electro-punk, spaceship disco and even avant-garde seemingly captivates the audience; all but reduced to instrumental puppetry (sewed on buttons and all). To be able to achieve what they have with just two individuals really showcases the ability of Warm Drag; their hypnotic beat and blaring synth-lines coupled with a preternatural vocal delivery highlights to all that you don’t have to have a five person guitar band to be able to pull off something with emotional weight or a powerful message, just common sense and musical skill. If you are fortunate enough to stumble into a venue where they could be playing… stick around.

Warm Drag: Official | Facebook

Angus Rolland

Recent career decisions have compelled me into the journalistic... thing; I could list my literary influences or even debate which 3rd rate beverage has the best economic value per litre (But I won’t). Oh, in addition, I write reviews for the Independents Network.