A huge night of core was on offer at Brunswick Street’s own Evelyn Hotel when Geelong’s The Red Shore headlined with guests Nazarite Vow, Electric Dynamite, Sienna Skies, I Explode Like and Feed Her to the Sharks. Having followed The Red Shore’s career with interest ever since a tragic road accident brought the band to everyone’s attention – but having never seen them live – this writer was certainly keen to witness whether the group lived up to the hype.

Firstly, however, Feed Her to the Sharks had the difficult task of kicking off the night just after 8 and, to the band’s credit, their energy wasn’t diminished by the modest crowd of 30 or so, made up mostly of other bands. In fact, FHTTS took it upon themselves to fill the open space with sheer volume, playing way over what the pub’s PA could handle. Resultantly, the band’s mix was saturated in an annoying and persistent speaker crackle that did them no favours. As far as the material was concerned, this was metalcore by numbers, and the band’s reliance upon breakdowns in every song – some appearing as early as a few seconds in – cast a shroud of sameness over the tracks. A strong heavy vocal, some blistering leadwork and a solid performance from Christian Nativo (from Vanishing Point) on drums were high points but much goodwill dissipated rapidly with the tuneless wailing of both backing vocalists, whose performance served to remind the audience of the giant chasm between singing live and auto-tuning it in the studio. Definitely a work in progress.

Next came six-piece ensemble I Explode Like, whose synth-laden electrobeats intro (think EBM or dark electro) promised interesting things. Alas, Explode is exactly what they did, with a sound that can only be described as sonic chaos. Seemingly aiming for the kind of Nintendo-core popularised by Horse the Band, Iwrestledabearonce or Genghis Tron, the band’s triple-vocal approach smothered everything in its path and, when delivered over competing guitar, bass, synth and drum parts, the stage took on the form of some kind of sonic battleground where vertically-jumping musical ninjas competed to see who could garner the most attention.

Served up on a shitty mix, it was nigh on impossible to understand what this band was trying to achieve, and it was only during the obligatory breakdowns that I Explode Like showed any real cohesion. Ultimately, this marriage of core and electro had its high points, though they were few and far between and it was hard not to cringe when the keyboardist embarked on a club mix of the oversaturated Adagio for Strings (a tune that’s been getting a ripe flogging ever since it appeared on the Platoon soundtrack in 1986). Some promise, but a lot more focus needed.

I was hanging out for Sydney-scenesters Sienna Skies. I’d not heard them before but the group is signed to New Justice Records, has a new album out with some of the best cover art seen this year, and has over 22,000 MySpace friends so they must be doing something right… right? Perhaps I was most excited by the fact that the running sheet stated a “5-minute set up”. Alas, the world is awash with lies and when the band finished their 25-minute load and sound check – the longest of the night – I’d lost some enthusiasm. By now, however, the room was starting to fill and so there were plenty of people on hand to witness the group’s own core take, which is best described as a blend of Parkway Drive and Darkest Hour. The performance was adequate, though the band’s misfit stage presence was more than a little distracting – it was the kind of bopping and popping that had me expecting them to break into a cover of Bowie’s Let’s Dance.

Lead vocalist Stephen Faull was strong, rangy and heavy when screaming, which was most of the time, but his melodic vocals were woefully out of tune and conjured images of a Saturday-morning mother wailing at her sleeping son from the floor below. Thankfully, these moments occurred infrequently. What Sienna Skies did bring was a welcome introduction of speed, which had been noticeably absent in the two earlier bands; however, it wasn’t enough to give the band a clear advantage over what had come before. Ultimately, a little of the polish that has gone into the group’s art, shirts and MySpace page could be better invested into the group’s live performance.

There were a few giggles when Electrik Dynamite took the stage, mostly aimed at the group’s image-conscious Hollyweird approach. Teased hair, fluoro guitars, keytars, acidwash denim, bandanas and leopard-print pants aren’t often seen this side of LA and it’s pretty clear that Electrik Dynamite is serious about people thinking they’re not to be taken seriously.

With material that sounded a lot like pre-major label Pantera (back when Vinny Paul wore makeup), ED screeched through a bombastic set of West-Coast power metal with conviction and ability and, while it’s a sound I don’t much care about, (a drinking buddy had us in stitches when he described it as “Rad to the power of faggot”) much kudos needs to go to the band for pulling it off exactly. These Sunset-strip cats know exactly what they want to do, and they do it well and the crowd, which was at its fullest and most vocal, just ate it up – punching the sky and singing along – and good times were had by all.

What’s more, keyboardist Sarah Lim (also of death metal outfit Earth) brought some much needed sextrogen to the night, whether she intended it or not, and was a welcome relief from the onslaught of pimple-faced, hair-covered ,angst-ridden lads who’d occupied the stage thus far. Electrik Dynamite is a testament to the strength of Melbourne’s band scene, which could never support a west-coast style power metal outfit if it wasn’t as strong and diverse as it is.

In direct contrast, main support act Nazarite Vow brought a certain East-Coast hardcore vibe that saw the night taking a heavier turn. Sadly, after three core bands already, it was more of the same and it became harder to spot differentiation in not only the group’s sound but also stage presence (again with the bopping and dancing… what gives?!) Honestly, everything here was “fine”. Nothing special, just fine, and I admit that I got bored and went to the bar.

A few things were immediately noticeable when headliner The Red Shore took to the stage. Firstly, the crowd had halved. Sure, the momentum of the evening had taken a big hit during Nazarite Vow, it was past midnight and the bill was arguably one band too long, but this still meant people had paid the exorbitant $22 fee and left before the headliner. There’s one key reason for this. The Red Shore isn’t and has never been a core band, despite efforts by the group to deliberately market itself as one. From the opening explosion, triggered double kicks, blast beats, cookie vocals and chainsaw riffs sent the audience hurtling into death metal territory, never to return. One can only figure that it’s all a bit too heavy for the core kids, which is too bad ‘coz the Shore launched an aural attack that left me speechless and hankering for more.

New vocalist Chase Butler was a growling, snarling, seething monster and his inhaled wheezes perfectly complimented the brutal backdrop of blasting beats being served up by new drummer Tim Shearman. The difference in sound quality between headliner and supports was as pronounced as night and day, and it quickly because apparent what most bands are missing: live experience.

The Shore are the real deal, replicating their recorded tones and performances perfectly in a live setting, and the importance of a life of constant touring to the band is never more apparent than in the group’s merchandise, which included nine different shirts, hoodies, hats, shorts and a $90 custom basketball singlet. That TRS continues to air its work to hardcore and emo scenesters despite taking a strong change of direction on recent material is bewildering and surely makes them one of Melbourne death metal’s best-kept secrets. Forty minutes was never going to be enough, and I left wanting more.

CHECK OUT THE ACTION FROM THE SHOW HERE