Thursday, 20 December 2012
CANVASSING BRANCH #4 - Sewers, august 2012.
Smirk before discipline. A booming snide singer in Shan Corrigan, his delay pedal gone on for a second, then switched off again (without delay). Sewers have presence, all meat and potatoes. A band aid as suffocate. Bassist Josh Watson and the down stroke frustration. Rampant frustration. Look at those hands. All four hands. Alex G. on rhythm G. (of Cannon, previously profiled here) lumbers in a slurred lurch between bloodied finger bass guitar and drummer Decsi's stripped-back precise chase after Shan's lord guitar. Lord like rolling a humon hand up and down the neck of a human guitar with split ends as strings.
Shan started Sewers as a guitar drum two piece in late 2008, shy of a wave of bands touting the same set-up. Comprised of Shan on guitar plus singing in a higher pitched sardonic take on made-a-mark e. smith's morrissey swapping haircut. A guy named Jared played the drums in a rolling floor tom snare lock for the most part. They recorded some songs, though never played a show. One of the tracks they managed to record ended up on a Negative Guest List cdr comp accompanying an earlier issue of the zine, with Brendon alluding to a share-ed can't-Wynnum all background in the sentence summary accompanying it (the same track later re-appearing on the 'Wings Over Gabba 12'', a self described 'best of' collected tracks from NGL cdr comps)
On ice for a while after that, Sewers re-emerged just over two years after the initial recordings, this time as a quartet. Jared still on drums, now with Damon Black (of Secret Birds) on new bass and Alex G. (pre mentioned Kennon member) on middle instrument. After two shows with this lineup (first ever Sewers shows mind), Damon and Jared dropped off (say Sydney, or play in a band titled 'We Have A T.Rex').
(final song that lineup played together)
Rhythm section were fit with fangs following, and Sewers become the force they are today.
They had me take this photo of them at the storage shed they rehearse at. Kennards, West End. It's sheet metal corridors and concrete floors like a blank canvass for treble echo from a space usually reserved for dead dad's dead things. They're standing in a service elevator marked for óbjects only. Objectively, when you flush, it goes to the Sewers.
Here is their only release thus far, a tour cassette Josh dubbed one hundred copies of for some interstate shows with everybody's riff, Martyr Privates. The best way to hear it though is a copy of the physical thing, as it contains some colourful excerpts from conversations with some West End nightlife, where I'll guess that the recording was done unbeknownst to these, say strugglers.
und good measure, a new assault on song from their most recent show.