Shepherds Reign can be justifiably proud to have created Polynesian Metal and they were in triumphant mode at the Fork tonight.
Recognisably archetypal Metal (machine) music, from the New Wave of British Heavy Metal (NWOBHM) onwards. From yer Iron Maiden, Saxon, Motorhead onwards through to the likes of Metallica.
Familiar stuff for Metalheads, and I suspect they have pulled in a large number of young Polynesian, Asian and Indian fans judging from the audience mix tonight.
One young guy I spoke to (originally from Hawaii) might be typical. I usually listen to Reggae and R’n’B.
Shepherds Reign come from the Polynesian capital of South Auckland.
Filiva’a James lead vocals and keytar, and Oliver Leu Polu guitar, are the founders.
James used to be a feral street-fighting cat before he cleaned up and became a correctional officer. Polu has had a background in classical music, before he finally picked up a guitar.
This band displays a great amount of musical chops. It is no surprise that they have been gaining recognition following their debut self-titled album in 2018.
The rest of the crew. Gideon Voon guitar, Joseph Oti-George 5 string bass, Shaymen Rameka drums.
The scene is set before any player appears. What sounds like the Meditation track from their latest single Ala Mai. A drone mantra featuring the pate log drums and sticks.
The five appear, accompanied by two percussionists playing those log drums intermittently throughout the show.
James has thick black locks that cover his face. He looks like the scary male counterpart of the demon in the classic Japanese horror movie Ringu/ The Ring.
All wear their now-trademark Samoan shark-tooth necklaces.
Ala Mai starts with the pate percussion intro leading straight into the rapid-fire drum barrage. Twin guitars heavy with meshed resonance. Some tasty fast solos are spat out.
I cannot distinguish the language of the vocals, but Aiga is sung in the mother tongue, Samoan, says James.
Patia! Patia! I take that to mean Clap!
The percussion rides on the engine room drums and bass which is hard and brutal. Chanted lyrics. Guitars advance up to shredding, in great Metallica fashion.
Aiga means family, and I have been told this is a prodigal son fable about returning to family roots.
Many of the lyrics are in English. Like Finally, which is described as a love song. The riffs lock in, and it has a poetic brutality to it. Which begs the question what’s love got to do with it, got to do with it. It’s a form of madness and psychosis.
James picks up the keytar and starts with a Prog styled piano opening for Legend. Older melodic style of Heavy Rock, with the drummer doing his best Hammer of the Gods thunder.
Concrete Walls, off the same debut album, carries on in similar techno wailing fashion.
Sleep is a cover of a City of Souls song, and it is given some manic energy by their lead singer Richie Simpson, invited on stage. Nice grungey energy.
Silcrow are a more classic-styled Rock band who are also building a reputation as worthy local band.
Lead singer Lorenzo Hazelwood has a distinctive baritone, and sounds close to Eddie Vedder of Pearl Jam. He can shred those vocals on the crescendo vamps.
Matched to a band which straddles fast riff-powered Rock’n’roll with elements of Grunge. Oscar Miller guitar, Conor Sutton five-stringed bass, and Carl Stieller drums.
Stuck in a Lie has a slower doomy tempo and is noticeable for its brutal Stranglers style bass riff.
One of their appealing features to an older guy like me is their throwback to the days of Glam. Which was great Rock in the Seventies, until the first flush of Punk.
The Pistols and their kind were influenced more than they acknowledged, by T-Rex, Mott the Hoople, the Glitter Band, Sweet, Slade.
I’d Rather Be Dead is perfect as a raging Glam Rocker and invokes memories of Ian Hunter fronting Mott.
Their cover of Billy Idols Rebel Yell reaches back to roots Rock.
In the midnight hour she cried More! More! More! / With a rebel yell she cried More! More! More!
Top Shelf are youngsters from South Auckland, and I think they all have origins in Manurewa High School.
Remarkably this is their first public outing. They are a large revue style band.
There is a horn section of trumpet and saxophone. They play edgy Jazz riffs like a Tom Waits band or even a little of Captain Beefheart.
Two lead singers, who can rap (medium pace and express fast), as well as modulate to tenor soul and R’n’B. Completed by guitar, bass and drums.
The engine room can lay out hard Funk rhythms. Show me how you move!
They combine speed Rap with jazzy horn and sax, jump around and sing can’t get enough on the chorus. Then finish with some adapted rock my soul in the bosom of Abraham gospel.
They do throw in Metal guitar licks, clarion horns and Pasifika Rap at the end.
The band look and act professional and confident, which means a great future (I hope) for Top Shelf if this is their public debut.
Shepherds Reign respond to the audience calls for Le Manu Samoa. A tribal song with space age music effects to open. The equivalent of a Rock’n’roll call to arms (like the Clash and Janie Jones, let’s say).
The whole room is in their happy place and the euphoria is infectious. Lots of guitar flash keep stoking the inferno.
Samoa Mo Samoa starts with an air raid siren and raise the energy level and temperature in the room even higher baby (White Lines, Don’t Do It). What it shares with the Grandmaster Flash song is a mantra chant and a battering, spine-shaking rhythm.
They close with Ua Masai. Samoan tongue, the Metal screams and rages, and additional space effects for good measure.
Shepherd Reign can celebrate their special brand of Samoan Metal.
Rev. Orange Peel
Photography by Leonie Moreland
Shepherds Reign
Silcrow
Top Shelf
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I thought Silcrow was a CD of in-between band’s sets Muzzak.