The Demon Parade

Another dreamy track from another local four-piece, but leaning here towards country-tinged West Coast psychedelia. It's a worn sound, but they do it well; the lush guitar layers and vocal harmonies on To The Mountain create a warm, drawling, cinematic air. Lyrically, it's all abstract images of distant peaks and amnesiac strangers - a surreal, prog-influenced tapestry.

Simone Ubaldi, Beat Magazine. - www.beat.com.au

"I really like the trancey psychedelic feel to this. The guitars build powerfully through the song. But the vocals are what set it apart. They are strong and not buried under the drone. It reminds me of how a lot of English bands were sounding in the late 80s when The Stone Roses were starting to take off. But this is better than a lot of those acts."

Richard Kingsmill, Triple J. 'To The Mountain' Single Review - www.triplejunearthed.com

Melbourne locals The Demon Parade started the night off with a bang. They attacked their set with a perfect balance of manic, sometimes chaotic psychedelia and dreamy vocals. Playing with perhaps a bit more animosity than they would usually perform with, they played a number of fan favourites, as well as new single ‘To The Mountain’, which is building the excitement for the release of their coming album. - ToneDeaf.com.au

The Workers Club was looking very festive Saturday night for The Demon Parade Christmas Bash. Decked out ceiling to floor in Christmas lights and tinsel like a cheap seasonal hooker, the band room was feeling very cosy and sweet for friends and fans of The Demon Parade, as they celebrated the band’s massive year.
Dirt Farmer kicked it off, and were the perfect way to set the tone for the night. If you still haven’t seen this band, you are strongly urged to check them out soon. Crisp, bluesy guitars teamed with singer Stuart Barlow’s Lou Reed meets Tom Verlaine voice make for a very cool sound. Each song is a tenner for this band, and they fittingly finished off their set with ‘The Party Song’, a Brian Jonestown Massacre-sque romp just made to get down to, and get down to it the crowd did.

When The Kicks started playing, people were just starting to impatiently wait at the bar for the Xmas pressie free beer tab to begin, and a very malnourished looking Santa came out of hibernation for the Summer, bearing a sack of goodies for those who hadn’t been naughty. It should be noted that towards the end of the night, even Santa himself was being quite naughty. It was tricky to watch The Kicks while the cheapskates keenly pacing back and forth between the two bars awaiting the sweet frothy goodness that was to come, but after what seemed like a lifetime, singer Neige Koppes announced that the tab had begun and everyone was finally set to check out the band. The Kicks are a fun party band, though they were different to what you’d expect amongst the other bands playing. Neige had a wicked intense voice, reminiscent of PJ Harvey, which sounded almost out of place (but cool nonetheless) alongside sister O’s psych-infused guitar styling. They walked a tightrope to cover The Stooges’ ‘I Wanna Be Your Dog’, but you can hardly hold that against them – it’s a tricky task but they had the room pumping their fists in the air.

Something that is perhaps even more important in an artist than the actual sound of their music, is the connection that they make with their art, and their ability to communicate through it. Jimmy Hawk is no doubt very gifted in this area. One of the more sincere artists you’ll probably ever see, Jimmy comes across as a very sensitive and intelligent person. It’s easy to get lost in his songs, which are all extremely thoughtful. His set unfolded like a good book, and once it was over, you were left feeling hungry for the sequel.

After a brief beer break, the band of the night was ready to take the stage and drive the beast home. Lead by a very debonair Michael Badger, this parade of demons weren’t too vicious. It’s futile to try to describe what this band sounds like in a way that hasn’t been said in any of their other millions of reviews, and while many of you may have seen them before, you can answer that question for yourself. This band’s strength is in their live performances, which is unquestionably intense. Definitely a ‘Chameleon’, Badger may think that his music never sounds quite like him, but all genres aside, he wears his personality on his sleeve when he performs. His connection with his art, like Jimmy’s, is undoubtedly a strong one, though perhaps needs to be seen a few times to fully appreciate and understand. Treating the audience to new song ‘To The Mountain’ (as well as reasonably new song ‘Chameleon’), the boys rocked out for a solid 45 minutes and provided the epic soundtrack to a very, ahem, ‘hard partying’ night. Finishing on their EP’s hypnotic title track ‘God Said it’s Legal’, the audience who had managed to survive this far were left mesmerised, and excited about forthcoming shows in 2011.

Ella Jackson - ToneDeaf.com.au

The Gig: The Laurels with The Demon Parade and The Priory Dolls
Where: Ding Dong Lounge, Melbourne, Victoria, Australia
When: 25 September 2010
In One Word: Stoned

Okay, just a quick clarification of this article’s “In One Word” description: No, your honour, I had not partaken of any illicit substances prior to this evening’s show; indeed, due to current lack of finances, I didn’t even have a single fucking DRINK all night! But this evening’s entertainment was more than enough to put me into a comparable state, and I’m sure some of the muso’s tonight had partaken of something or other before hitting the stage. Now on with the friggin’ review…

The Priory Dolls are a young bunch – fuck me, the lead singer/guitarist looks barely fourteen! – but I must say, they definitely do rock some. Stoner/shoegazer rock with a heavy 90s Brit influence: The aforementioned singer manages a very credible “detached” vocal performance that evokes said time and place, suggesting he has led an awfully jaded life for someone who’s yet to finish Year 12 (boy, they do grow up quickly these days)! But I’m just being bitter…these guys (and girl) are actually pretty talented, and the presence of “trippy” keyboards and a fantastically dynamic rhythm section doesn’t hurt…man, that girl beats the hell out of her drums, and the bass player has stage presence to burn. Especially love the song that starts off sounding like Pornography-era Cure, at least until the spell was broken by the vocalist opening his mouth and NOT sounding like Robert Smith. Oh well. Still, I wish them the best of luck in this crazy game called “rock ‘n’ roll”, and hope that the singer finds the time to do his homework and make his mum and dad proud by finishing high school.

Next up is The Demon Parade, and while they evidently share some of the same influences, they’re a bit older and take their stage cues as much from the Seattle scene of that era as they do anything British. They certainly know how to work up a sweat, and give a few dance-happy members of the audience a decent cardio workout while they’re at it. They also have one heck of a lighting show to accompany their fuzzed-up atmospherics, and oh…they sound fucking magnificent. That’s all I really ask out of a live band: To give me a decent visual show, and sound good whilst doing it. Easy, right? Then HOW COME SO FEW BLOODY BANDS CAN ACTUALLY MANAGE THIS?! Just as long as this current “90's revival” doesn’t stretch into recycling stuff from the latter part of that decade, when it all went seriously to shit.

The final band up are The Laurels, and continuing the theme for tonight: More stoner rock… oh, and another girl drummer! Again, they sound great, doing arguably as much with their four-piece line-up as the last two bands did with larger ones, but the visual thrills are a little leaner this time around. Not that the aforementioned Seattle influence has entirely gone away – one of the two singer-guitarists even wears a green-and-yellow striped sweater-y thing – but energetic stage antics are decidedly thin on the ground. Still, I’ve seen many a band stiffer than this one, which doesn’t necessarily excuse this group so much as it indicts the whole lazy-arsed modern music scene, really. And in their defense, their sound is definitely one that is more ploddingly moody than playfully manic, so perhaps it’s an apt enough performance after all…just not one that demands to be witnessed, I’m afraid. Expect they’d be terrific on record, and full points for having the balls to follow the infinitely more visually intense Demon Parade on-stage.

A fine show all around, ladies and gents. Bravo! (Anyone got a spare spliff on ‘em?) - Music Vice

The Demon Parade are riding the wave of psychedelic rock that has recaptured Sydney’s underground soul. With their debut EP available, the band are cruising up and down the east coast showcasing their sound. Michael from the band took a moment to answer some questions about The Demon Parade.

MF: What’s new in The Demon Parade camp?

M: We put out our debut EP in July and have been gigging up and down the East Coast every weekend over the last couple of months. We’ve also just had our music video made, which you can check out on the web.

MF: Tell us a bit about the new EP God Said It’s Legal?

M: We made it ourselves in my studio. We tracked it live in a big room then added layer after layer of guitars, drones and harmonies. It’s a good combination of what we do live and what we’re capable of producing in the studio.

MF: How do you describe The Demon Parade’s sound to the guy at the bar?

M: Melodic, hypnotic and psychotic.

MF: There’s been a big resurgence of psychedelic rock sounds and bands; why do think audiences are attracted to this genre?

M: I think it’s been building more and more the last couple of years. Genres seem to go in and out of fashion, but it also helps with some of the internationals passing through Australia on a regular basis.

MF: There have been a lot of comparisons made between yourselves and bands like The Music and Black Rebel Motorcycle Club; how do you find those sorts of comparisons?

M: That’s great. They are great bands. We don’t really sound like either, but we’ll take it.

MF: You’re currently in the middle of a national tour; how has it been so far?

M: It’s great. It’s our first tour around Australia playing our own shows, so it’s good to finally get to some places we haven’t been to yet. It’s also our first tour with our newest member, Jordan (vocals/guitars) who has certainly livened up the energy of our band.

MF: You’re about to hit Sydney for a couple of shows; why should Music Feeds’ readers come and check you out?

M: Because we play music that should be played louder than what your stereo can go.

MF: What is the first song you would put on a mix tape?

M: Tin Soldier by the Small Faces.
- musicfeeds.com.au

THE DEMON PARADE
Do You Believe In Hell? (Jaya Jaya Records)

One of the headiest mixes of Stone Roses, Oasis and REM you'll ever hear, The Demon Parade have crafted an utterly mesmerising psychedelic-rock tune that bows at the altar of the greats that have preceded it, yet still manages to sound fucking rad. Ian Brown would be rolling over in his grave, y'know, if the monkey king was dead. It's a sheer mind-bender; a tune made for soundtracking the sinking into a cloud of tree (read; weed) smoke or as you slowly drift into hallucinogenic state. The guitars are sweeping and massive and it all adds up to a tune of sheer psychedelic exuberance. Grandiose and almost perfect.


- Beat Magazine

Title: God Said It’s Legal EP
Artist: The Demon Parade
Label: Jaya Jaya Records
Released: 17 July 2010
In one word: Groovy
Okay, this review’s gonna be short but sweet. My hard-workin’ editor’s gonna love me for it.
Do you remember the late 80s/early 90s? Melbourne, Victoria’s The Demon Parade certainly appear to. Think Jesus And Mary Chain and all other manner of “shoegaze” era acts, throw in a little space-rock era Pink Floyd, and you’ve already got a pretty fair grip on what these boys are all about. Take into account the fact that they recently supported The Brian Jonestown Massacre on tour, and you’ll now have most of the pieces to the puzzle well in hand. These lads ain’t doin’ nothin’ that ain’t been done before, but damn, they certainly do it well…and are we seriously supposed to believe that the frontman Michael Badger also produced, recorded and mixed the bloody thing himself? Clever bastard.

God Said It’s Legal takes us on a familiar journey to be sure, but an engaging and well-executed one just the same. If “psychedelic”, guitar-heavy music with lots of trippy effects and generous layers of reverb siphoned through a keen indie-pop sensibility is your thang, then suffice it to say you’re probably gonna dig this one. I look forward to seein’ ‘em live. Groovy.


- Music Vice

Don’t be alarmed by the frightful demeanour of their name. I promise, you will be pleasantly surprised.
If you haven’t heard of them already, the Demon Parade are far from new to the music scene. Having played a number of festival sets including Cherry Rock Festival and Playground Weekender, as well as an extensive support of Brian Jonestown Massacre on their 2010 Australian tour, Demon Parade are on the up-and-up.
Meet their new EP, God Said It’s Legal. With a mix of old-school, punk-style psychedelic rock and new-age melodies, this band has something reminiscent of so many other bands, but every song is constructed in a way that is so unique and unusual that it sounds fresh and new.
Vocalist and songwriter Michael Badger has the qualities of Robert Harvey from The Music mixed with Peter Hayes from BRMC. Put this with some mysterious harmonies and even more mysterious guitar licks, and you have yourself a downright winner.


- News Unlimited

The Demon Parade’s new EP, God Said It’s Legal, is nothing short of excellent. With a unique new-wave psychedelic rock sound, they are well and truly a band to watch. Michael Badger’s harmonic vocals are the perfect accompaniment to the beautiful melodies the band produce.
Opening track, Do You Believe In Hell, is enough to get you hooked. The kind of music you could happily fall asleep to, or imagine yourself relaxing on a beach somewhere. By no means is it reinventing the genre, but that doesn’t make it any less spectacular.
Six tracks hardly feel enough, especially as the first three feel like three parts to one epic song. The complimenting vocals and spiraling guitar work so well together to create an ambience and soothing mood, instantly undone by their successor,Surreal. The fourth track being the ‘heaviest’ of the bunch, but keeping with the atmosphere already created.
Beyond Us is the strongest track on the EP. It features the same relaxing feel, the same light synth and guitars, but with an extra kick that almost sounds like it has South East Asian origins.
In many ways, the second half of the album could collectively be described as ‘part two’. The three tracks fit far more comfortably in the ‘rock’ category than the three before them, but with the same vocals, the same wonderful lyrical style, and a perfectly used twelve string guitar.
The title track wraps the EP up perfectly, ending on a note that makes you wish there were another six songs to come. This CD is a must-have for all fans or this genre. Anybody who wants something new, something different, something unique, and of course, Australian. There is no reason why The Demon Parade couldn’t be huge in a year or two. Have a listen to God Said It’s Legal, and you’ll understand why.


- The Dwarf

I’ll be the first to admit that I wasn’t a Demon Parade fan initially – I prefer looking at people’s faces rather than my feet. So I don’t know if it’s now that I can finally see their eyes thanks to a few band haircuts, or if they’ve just finally cracked the right balance, but I’ve converted to hell. Their cohesion was fluid, allowing their well written riffs to come forward and leave non-believers nodding in unison. Michael Badger’s distinctive vocals sliced through the general white noise around him, soaring along with his arms in songs like God Says It’s Legal. His guitar tangos with Jarryd Boath ’s as the writhe together on stage, constantly bumper-barred back into place through the thrust of Rob Bryers bass and the shove of Greg Dempster ’s kick-pedal. The fairly recent addition of Whil Dempsey on organ is perhaps the element that has me singing the demon’s praises – he constructs the dimension through which the rest of the band tear a void. His synth may have been placed side stage, but it did not diminish his power. As The Demon Parade would say, All The Cool Kids will be at the show. - fasterlouder.com

To launch their limited 200 vinyl run of the double A side Surreal/Beyond Us The Demon Parade have something special planned for the night. For one thing the venue seems to be tailor made for the event with its retro furniture and pop art adorning the walls Fad Gallery oozes cool. The crowd too spills style out on to the floor but still manages to be friendly and approachable. The DJ lays down tunes both familiar and obscure from the likes of Spiritualized, The Kinks, The Stone Roses and The Brian Jonestown Massacre between acts so that there is never a sense of waiting.

The first act up is The Kicks who later let us know this is their first gig, no one would have guessed judging by both their confidence and skill. Musically they aren’t the down cast psychedelic shoegaze band I was expecting from the night. Sure there are slight psychedelic undertones but the carry a more upbeat sensibility that ties them closer to the pop punk of britpopers Elastica.

In fact bass player and singer Neige Koppes voice bears a definite similarity to Justine Frischmann. Neige and sister O, on guitar, lead the band in an energetic, happy and take no shit way that reminds of other strong female leads PJ Harvey and Brody Dalle. Together with Aaron Ronaldson on second guitar and Zac Hodgkinson on drums the girls lead the audience through a fun filled romp. Ronaldson in particular shows chops through out with his hectic upbeat drumming throughout. Of particular note is the most psychedelically infused song, Like I Do, which ever so slightly strays from the more punk tinged numbers. The band close with Anything on Neige brings forth an immersive bass line lacking in earlier tracks.

The second act of the night is The Priory Dolls, who I initially find less appealing. However they’re one of those rare bands that grow on you the more you listen until you can’t help enjoying everything they do. They play more contemplative pop reminiscent of several less successful Britpop bands such as The Boo Radleys, Ocean Colour Scene or in particular The Auteurs. In fact just looking at the band they radiate with the colour of Britpop. Singer and guitarist Jeremy Mair looks disturbingly like a young version of Cast’s John Power while bass player James Payne is straight out of Suede, with his big collared purple shirt and floppy hair. So while I can never see them being my favourite band the more I listened the more I enjoyed them and judging by those around me I wasn’t alone. The highlight for me was the dark and steadily driven Poison Arrows.

The one thing I’d emphasise about The Demon Parade is that they are not a ballads band. It’s all about rock as it should be loud, violent and dangerous. They kick off deceptively slow with a building soundscape which leads into the Like Ivy before getting into new single Beyond Us. Michael Badger’s voice echoes Peter Hayes of Black Rebel Motorcycle Club as he sings through the refrain of, “Come on, come on, don’t let anybody down.” Beyond Us is a great track but it is a tough comparison when the bands older songs are as good as Evolve and All The Cool Kids. The band is joined by Sean Ainsworth (of The Fearless Vampire Killers) on tambourine for Afterworld before launching into the second single track Surreal. Surreal is in my opinion the superior of the two single tracks coming off like Tomorrow Never Knows played by Oasis.

The unrecorded new track Spiralling blows minds with its swirl of guitar and keys. It’s fantastic to see a band that can maintain its intensity for the entire show with bass player Rob Bryers in perpetual rhythmic motion, Badger throwing himself around the stage and Greg Dempster an animal set loose behind the kit. The lighting is enhanced too making use of a strobe and brightly coloured floor lamps. The only qualm I have is that Whill Dempsey’s keys are too loud in the mix, it isn’t so bad as to impact the overall sound it just tends to override the guitars at key points. The band close with the always impressive God Said It’s Legal on which Badger shows adeptness at creating impossibly catching refrains before throwing mic stands in a closing crescendo.

Everything about the night reminds me of the stories of early nineties Britpop clubs, emanating a vibe of creativity and innovation in a pastiche of the past. It’s fantastic to experience the growth of a scene before explodes into the mainstream, which after this night I have no doubt it will.
- fasterlouder.com

The Demon Parade

A blur of jangling space rock and psychedelia, The Demon Parade are warranting a lot of industry attention at the moment. Recalling The Stone Roses, The Church and Ride, this gaggle of pipe cleaner jeans and paisley shirts have got the morphine drones and incandescent jangle rock down pat. Not quite 18 months old, the band put out a limited edition seven inch late last year and are about to tour Australia with The Brian Jonestown Massacre this February. With an EP coming out in March and increasing radio play these brats are about to break on through. - tonedeaf.com.au

Coincidentally, at the other end of town, there was a musical tribute to Andy Warhol going on, the first in a series of references to that other band that would appear before the night was over. The support act seemed to be heading in the same vein, for Demon Parade had a distinct Dandy Warhols flavour to both their music and their stage presence. They played their instruments well, but with little acknowledgement of the crowd, and with so many of their songs sounding similar, for just a bit too long. The band members appeared on stage one by one and began what sounded like tuning up, but by the time all five were onstage, they had built an impressive wall of sound, which they maintained throughout the set. As if to make up for the fact that one of the guitarists spent the whole time facing the drummer, the Bassist didn’t stop smiling into the crowd. This was about the only interaction we got.

It was good music, really good. And on any other night, more than four people would have been dancing, clapping and giving the band what they needed to feel welcome on the stage, but not this night. This one belonged only to BJM. Demon Parade should come back and play Perth again, maybe in winter, and let us give them the welcome on stage that they deserve. - Fasterlouder.com

On the polar opposite side of the scale comes Demon Parade, energetic, fast paced and more importantly involving. Demon Parade play the type of songs that even though you’ve never heard before are instantly recognisable. Influences such as The Dandy’s, Brian Johnstown Massacre, Darker My Love and Oasis are obvious but when they chop and change between sounds so rapidly and it sounds this good who cares. On entry to Cherry patrons were given a Demon Parade EP and I can tell you now their live sound does not suffer by comparison. Their music is lush and full without simply overproducing, instead layering instrumental precision. The recent addition of Whill Dempsey on Organ and Synth duties furthers this adding just the right amount of background ambiance and texture to songs such as The Devil in Disguise. Rob Byers resonating basslines hold a steady and even temperedness up to the exuberance of Jared Boath and Michael Badgers guitar licks. The jangly rhythm guitar on All the Cool Kids echoing fellow Australian psych-rockers the Lovetones while the lead is all about playful experimentation. Other highlights are the catchy Evolve, ‘but I know that your not gonna Evolve, not gonna Evolve!’ and equally so Afterworld, ‘You don’t realise it, You don’t realise it!’ Badger specialising in writing infectious refrains. Closing with an extended version of God Said It’s Legal the band finishes by trashing the set, throwing microphone stands, tipping the keyboard over and dropping guitars. Someone throws milk crates at drummer Greg Dempster who puts one on his head and keeps playing, all class. - Fasterlouder.com

"They are nothing short of un-fucking-believable. They're a heady mix of gut-punching guitars and mind-bending psychedelic noise-punk - and yes, they're as good as that sounds. It's like tearing shoegaze's head out of it's arse and replacing it with a firecracker - they are, suffice to say, quite excellent."

Jaymz Clements, Beat Magazine. - Beat Magazine