December 13th. Gnemesis goes nuts in the smallest venue in Sydney. It'll be intimate and packed full of fun. We are also playing with some other groovy doers as outlined above. We will be debuting a new song : Land of Confusion.
Fire Underground, Ask Bob, Gnemesis. Tuesday, August 9. By Drew
Jager Uprising @ Spectrum, Darlinghurst. Presented by The Brag
"And The Lord said unto them: Go forth and create a cover band in
the image of Genesis" (Gnemesis 3:16)
Looking very much like Point Break's Dead Presidents in their ill-fitting suits and messy hair, Sydney's Gnemesis get the night off to a cracking start with a set full of twisted covers. It's like The Cruel Sea hit rock bottom, went on a bender and decided that their next best move was to start a Genesis tribute show with a wah-wah ukulele. It sounds wrong, but somehow, it's so right. The bluesy, rock-infused versions of 'Invisible Touch', 'I Can't Dance', 'In The Air Tonight' and 'Sussudio' are wonderfully kooky and unashamedly daggy but the unusually large crowd are eating it up like candy. The hairy, wild-eyed frontman Mark is edgy, unpredictable and dishevelled - a kazoo in one hand, bullhorn in the other and a swag full of fabricated anecdotes to introduce each new song. For a good time call 1800-GNEMESIS.
Australians buy "Double A " gnemesis' first album only 10 bucks:
Australians buy "FUCK" gnemesis' first album only 11 bucks:
Rest of world buy "FUCK" gnemesis' first album:
On the nicely titled Fuck, five-piece Gnemesis take the classic hits of 70s and 80s prog-masters Genesis and rework them using such classic rock instruments as electric ukuleles and kazoos. Perhaps we've reached the point where we can look back and truly appreciate the music that Peter Gabriel, Phil Collins and gang created (or perhaps it's just me), but even though Fuck is presented as a piece of irony, the impassioned covers build upon the tracks with their warped instrumentation and as a result seem to elicit a simultaneous sense of tribute towards their originators. I've never really known what Phil Collins was talking about in his songs, mainly because I don't tend to listen that closely to his work because usually when it's playing on the radio or whatever I'm like vacuuming the floor or blow-drying my hair, but Gnemesis frontman Mark Simpson enunciates every word and they speak philosophical beauty about timeless subjects such as loneliness caused by the inability to rhythmically move one's feet ('I Can't Dance'). Simpson's gargling, pseudo-retarded wails tend to transform every track into an innocently optimistic jaunt, and even when he's singing about Death visiting his former lover (or whatever the hell 'In The Air Tonight' is about), the wah wah ukulele strains and light snare brushes establish the celebratory atmosphere of a calypso party on a well-populated Caribbean tourist beach. In other words, Gnemesis have uncovered an alternate and original way to enjoy the already exciting sounds of Genesis, and for that the entire world should be grateful... forever.
Too lazy to write their own material and too pig-headed to be pinned down by straight forward covers - Gnemesis truly give a Fuck. What could have easily have been a de-fanged rework of Genesis classics turns out to be a catchy and confusing progressive rock album made with, amongst other things, the cheapest instrument in the shop - the wooden Kazoo. Apparently Collins played congos on some Beatles' album - no one even knew it. Now though, with Gnemesis turning the amp past 11, his legacy is crystal forever.
i can feel it
tonight, tonight, tonight
i can't dance
lily white lillith
Tonight Tonight Tonight
I Can't Dance
In the Air Tonight
Blood on the Rooftops
Colony of Slippermen
In Too Deep