Reviews
ST JEROME’S LANEWAY FESTIVAL - PERTH CULTURAL CENTRE - 11/02/12
Getting to St Jerome’s Laneway early on was definitely only for the keen, with a solid 12-hour day ahead of the hottest of the hot indie and electronica acts, but early arrivals were treated to a cracking early set from UK rockers Yuck, providing a straight-up set of pop-rock. A little later on local buzz band Cow Parade Cow gave it their all in the Spiegeltent to again a solid little crowd for the early slot, one getting the feeling their festival set will be the first of many for the accomplished tropical/afro-pop six-piece.
Fleshed out from a duo to a full band, the focus was still very much on singer Caroline Polachek for Chairlift’s impressive set, and with good reason. In the live setting her voice is powerful, assured and spot on, evidenced no better than in set closer Amanaemonesia.
M83 - METRO THEATRE, SYDNEY - 09/02/12
Although it’s clear that French musician M83’s most recent two releases have been inherently less shoegaze-y and more extravagant, accessible electro-pop compared to his earlier albums, M83 aka Anthony Gonzalez still manages to bring the same stellar unique lo-fi ambiance channelled in his earlier work to his epic live performance.
Performing alongside his dynamic three-piece band, Gonzalez induced a visceral euphoria, swathing the set with otherworldly effects, layered synths, throbbing bass and heavy reverb vocals, to push the sound into a whole other world. The four-piece approached the stage with infectious drive and passion, spurring the audience to share this consistent, vivacious energy throughout their set. Following a stream of exquisite ambient electronic tracks, the climactic, feeling drenched enthusiasm was unveiled with a polished anthemic rendition of Kim And Jesse. With drawn-out, hazy vocals and hypnagogic synth melodies against an inconsistent beat, the nostalgic, ‘80s influenced performance ignited the sways of audience members and anthemic singalongs. The intricately woven synthetic melodies created a dense wall of sound and added depth and momentum to the already magical live performance. With a Simple Minds-style vintage instrumental introduction, Reunion appeased the crowd, aiding the formation of something of a bouncy dance pit on the floor of the Metro with dozens of hands flailing around erratically and legs shuffling around to the delicious intergalactic melody.
LAURA MARLING - SYDNEY OPERA HOUSE CONCERT HALL - 09/02/12
English singer/songwriter Laura Marling’s show at Sydney’s most iconic venue was split into two acts. The first half saw her perform her latest album, A Creature I Don’t Know in its entirety while, after the interval, she played older songs along with a sneak preview of a new offering. Strumming an acoustic guitar and displaying a vocal that ranged from a rich, smoker’s delivery to a whimsical falsetto, she was backed by her five-piece band as drums, upright bass, keys, guitars, cello and banjo added a sense of weight and depth to the sinister The Beast, the interestingly-structured Salinas and the dark Alpha Shallows. Elsewhere, these full-band numbers were contrasted by the likes of the stripped-back and rather apt Goodbye England (Covered In Snow).
Belying the yearning, heavy, serious nature of her lyrics, between songs the softly spoken Brit was affable and funny. Admitting to a combination of shyness and awkwardness (it’s easy to forget that this worldly woman is only 22) that prevented her from engaging in a great deal of impromptu banter with the audience, she instead offered up some prepared facts. These ranged from a detailed breakdown of the Queen’s daily alcohol intake to insights about A Creature I Don’t Know.
YUCK - OXFORD ART FACTORY, SYDNEY - 09/02/12
The three young guys of local band Step-Panther work very well together, but their charisma was completely stilted, by either an aggressively blasé crowd, or simple insecurity. If you show meekness, you cannot throw songs down like otherworldly idols in spite of precise drumming and creative chord progressions. The solid, straightforward indie punk had enough grit to hold on to, but they never quite touched the remnants of grunge as the guys lacked that viscous thought, sensitivity and awareness which can fuel a fire worth worshipping.
With comforting assurance – and a strong female American rocker attitude that throws back to Joan Jett or Patti Smith – EMA (aka Erika M Anderson) gradually built up a sweat and seemed to lose her sanity, or whatever it is that holds your mind together when it is so desperately needed, but so very hard to understand. The guitar, drums and especially the violin of Leif Shackelford laid nice groundwork and there were amazing moments where some notes pierced through the din connecting those who would, with cries against apathy, hypocrisy and the abuses of love or lust. However, Anderson’s own guitar skills as with her lyrical efforts are minimal. The emotion is there and it is valid, but we are not shown the cause or justification at all in her lyrics; it is all merely alluded to and the droning chords and aural tricks only prop this up as though they are ballads, yet they say as much as a couplet.
TORO Y MOI - MANNING BAR, SYDNEY - 08/02/12
Hardworking Sydney future-soul producer Guerre primed the set with a smooth collection of pieces. His work dabbled with gentle two-step syncopation and warm popping textures and the late night jazz chords driving it were sweet and low. His voice wasn’t clear, but it was the sound of it that mattered and his vocal effects were nicely handled with reverb and layering.
Either Ernest Greene aka chillwave artist Washed Out could have followed Guerre’s example and played a solo set of relaxed pieces working from samples, or he could play with a live band. He chose the latter and presented a great set full of verve and guts, something his record doesn’t really convey. Given it’s a synth outfit they worked hard to drive them home, pushing them way over the top, caterwauling their way through the venue. It got pretty heavy, but the sweetness of the melodies balanced it out. The live drum kit gave it a huge kick and while they bulldozed over the subtlety of his album and maybe lost some of the music’s charm in the process, it was still great to listen to.
THE DRUMS - METRO THEATRE, SYDNEY - 08/02/12
This was an evening for devil-may-care music and dancing, a kind of fuzzy, nostalgic throwback to the youthful, more carefree beginnings of audience and musicians alike. Dune Rats have gained some casual notoriety in the past few months. The band has a bright, bubbly sound that recalls the exploding surf scene of the ’60s. Playing to a sizeable audience and apparently loving every minute of it, these boys have charisma and a sound that renders them different from other acts.
Despite the fact that they were playing under a backdrop for The Drums, Cults were no second-rate support act. They drew a huge crowd of their own fans, who knew all the words to their songs and seemed to relish the band’s first Australian tour. Opening their slot with a slow, mellifluous instrumental build-up – delicate synth notes, cymbals, chunky bass riff – Cults had their audience entranced from the very beginning. Maddie Follin’s voice is simply gorgeous and so much more versatile that the band’s best-known track Go Outside would suggest; she is a chanteuse, skipping neatly between husky jazz songstess and indie pop starlet.
FEIST - ENMORE THEATRE, SYDNEY - 07/02/12
Mountain Man were three beautiful female voices in spine-tingling folk-style harmony, the occasional strum of guitar their only accompaniment. Their voices had a beautiful fragility and breathiness that was solid in their tight acappella harmonies but stunningly delicate individually. Rhythmic breathing, tight cuts and pauses, rapid tempo changes and shifting vocal layers ensured the sound didn’t get old. Their banter with the crowd was humble and relaxed and, despite the large venue, they made their set feel intimate and succeeded in drawing in the swelling crowd.
After quite an extended interlude, Feist began her set with much more of a grungy feel than most fans of her music would be used to. In hindsight this was probably a good move, as she played for two hours and after the relatively serene support set, the audience thrived on some perky rock. She celebrated some new material from her recent album Metals and reincarnated older favourites So Sorry, My Moon My Man and I Feel It All with heavy drums, distorted guitar and thick layers of synth. Mountain Man were a beautiful addition as her back-up vocalists. Though the result was a big and exciting sound, it lacked the nuance and vulnerability that is so powerful and enchanting in Feist’s simplest form – vocals and guitar. Her voice however was as impressive as ever, hanging in the air like a feather on a breeze, trembling and cascading with the see-saw of emotions.
PORTUGAL. THE MAN - METRO THEATRE, SYDNEY - 07/02/12
Guineafowl began the proceedings of warming up a small but already receptive crowd. Their twinkly, spiralling take on indie was a good, if somewhat unadventurous, fit for the two Laneway acts to follow. The first (and sadly not the last) band on the night to suffer from poor sound, much of the sweet boy/girl harmonies were lost amongst a mix too heavy on the drums and bass, though that didn’t stop them from playing a few brand new tunes and garnering a great response from the crowd with Little Fingers.
Givers must be given props for ambition. Plagued by similar sound problems – a deafening rhythm section – the Louisiana quintet bridged the gap between the opener’s indie and the headliners prog leanings. With tempos shifting on a whim the band fell with full force (occasionally to the detriment of clarity) into each tribally driven, polyrhythmic section. They were at their best when playing with abandon, the small timing mishaps then forgotten amidst fun-fuelled energy.
ANNA CALVI, TWIN SHADOW - OXFORD ART FACTORY, SYDNEY - 06/02/12
Mastering the reciprocation of synthetic recordings in a live setting can be a tricky feat to master. The post production edits and distortions can often sound erratic and unpolished when translated to an audience. When it comes to New York new wave musician Twin Shadow, it was clear that he was not quite there yet, however still managed to use hands-on instrumentalism to create a dynamic derivative of something you would hear on his studio albums.
Introducing Twin Shadow’s melancholic aesthetic was opening track Shooting Holes, a slick shamble of dreamy synths, rich emotive vocals and a catchy hook against a syncopated beat. Strongly evocative of ‘70s and ‘80s pop/electronica, this was an exquisite vocally and instrumentally layered performance, which twisted the original recording but still managed to induce the same feelings. Sadly for Twin Shadow, the audience was not opening themselves up to be engaged by the band’s intimate style and failed to display any form of enthusiasm towards the live performance. Luckily, spirits were revived with the minimalistic croons of Castles In The Snow where the audience joined in the intermittent handclaps, droned along to the catchy hook and were mesmerised by frontman George Lewis Jr’s cathartic lyricism and vocals.
BIG DAY OUT - MCCALLUM PARK FORESHORE, PERTH - 05/02/12
With their cheeky onstage antics and full-frontal punk-thrashing animating the crowd early, Frenzal Rhomb provided an adequate Sunday wake-up. Over on the Boiler Stage, Bluejuice provided a pretty paint-by-numbers set of their hits, but still effusing the fun aesthetic they’re known for.
The Vaccines were pedestrian, while Parkway Drive were an early highlight as they blasted out a barrage of technically proficient metalcore. Now stripped back to a six-piece (although five on this day), The Brow Horn Orchestra are better for it, with frontman Nic Owen truly coming into his own as band leader.
REGURGITATOR - INDI BAR, SCARBOROUGH - 04/02/12
Having freshly unleashed his long-awaited debut album An Audience With, Tomas Ford delighted in scaring the bejebus out of punters and inciting mini-orgasms where’er he pranced. Few seemed to be new to the Ford experience, yet he still managed to set faces to stun.
The question “How do you follow Tomas Ford?” has reduced lesser acts to gibbering defeat, but The Brow Horn Orchestra rose spirits higher with their salsa-drizzled ska. Certainly no mean feat to squeeze a high-energy six piece onto the small Indi-Bar stage but their trumpets and rhymes flourished.
CAVALERA CONSPIRACY - THE HI-FI, BRISBANE - 06/02/12
To say that Gold Coast’s Shifting The Paradigm kick the night off with a rolling start would be an understatement. Their volume is turned up to a level that is almost unheard of for opening acts. Given that they are a six-piece, with live samples and keys, they lose a little definition as they squeeze out every inch of space from the sound, however, they make a brutal presentation of it in the process. They are impressive throughout, and any qualms people may have with the vocalist’s brief flirtation with melody are likely stomped out by a fitting rendition of Metallica’s Damage, Inc.
The fact that the touring support slot has been filled by Lynchmada, yet another Gold Coast band, goes a long way to show that there has been quite a healthy metal-scene cultivating locally all these years. Picking things up from where they were left, the band is privileged by a volume level that is equally as absurd. It is apparent that the band is extremely comfortable on such high stakes stages, and the five-piece introduce a greater groove and dynamism to the evening. While vocalist Joel Harris taunts and jokes with crowd members in-between songs, things swiftly turn back toward hell’s fury with the execution of each song.
PRINCE RAMA - THE BAKERY, PERTH - 03/02/12
Hierodules were a babin’ sect of priestesses from ancient Babylon who worshipped pagan gods through feverish chants, geometric iconography and kinky rituals. Sisters Taraka and Nimai Larson seem to have taken this lifestyle and turned it into a sweet experimental post-rock outfit. Hardcore Hare Krishna esoterica wrapped in tinsel and sequin bikinis is what their band Prince Rama is all about, and the duo gave The Bakery one hell of a contact high.
But we’re getting ahead of ourselves. First on the altar were Usurper Of Modern Medicine. The trio delivered a salvo of experimental space rock with aplomb. Acid Chess got a comprehensive play-through, with every flailing guitar melody and wobbling ultra-bass projected on-stage in psychedelic technicolour. The band’s live vocals could use a sharpening, but there’s no arguing against Usurper throwing a mental live show.
ST JEROME'S LANEWAY FESTIVAL - SYDNEY COLLEGE OF THE ARTS, SYDNEY - 05/02/12
This boutique festival year by year tends to introduce to Aussie audiences some of the best emerging talent and has become a highlight on the summer festival calendar, thanks in part to the surrounds of the Sydney College Of The Arts grounds. This year’s event certainly leant toward the new wave end of the scale, such were the sounds of Jonti who looked and sounded fresh. Working his way through a technical set of pop and electric jungle, it all abruptly ended with a simple ukulele song.
Givers delivered what could best be described as country gospel, up-beatness and positive energy, outwardly embracing the sing-a-long harmonising that could be suited to the opening credits of Play School. Lots of people were happy to have their minds subjected to the easy-going and easier listening sounds that well suited a super-hot day.
ST JEROME'S LANEWAY FESTIVAL - FOOTSCRAY COMMUNITY ARTS CENTRE, MELBOURNE - 04/02/12
Platform four of Flinders Street Station is populated with asymmetrical haircuts and innovative dye jobs, clashing prints and statement pieces – the Werribee line has never looked so hip. Punters liberally apply sunscreen and chat amiably, comparing schedules, on the train. There’s no need to consult iMaps once we arrive at Footscray station, just go with the flow of the crowd. According to a pair of dudes, band t-shirts are out and record store t-shirts are in. Good to know.
Racing down the hill to catch DZ Deathrays at Eat Your Own Ears & Young Turks stage, their aural assault is immediate. It’s so hot that flip flops melting into feet seems like a distinct possibility. Simon Ridley’s drum kit incorporates a tambourine attached to the stand, above a cymbal, and the ensuing racket is most definitely arresting. DZ Deathrays are also lyrical masters: “You know our bodies make the right conversation”/”You wanna use me, well use me FAAAAaaaast.” That sleazy guitar sound Shane Parsons rips from his axe hits you where it hurts so good. This duo are international-superstar ready and the word “insane” is uttered by numerous crowd members at the close of their set.
THE HORRORS - METRO THEATRE, SYDNEY - 02/02/12
Jack Ladder was in solo mode in the early opening slot and he showed that the songs from last year’s excellent Hurtsville LP can work just as well when stripped back to that rich, melodramatic voice and a fantastic, effect laden guitar sound. He only managed to play a handful of songs before he was ushered stage right, yet he impressed many of the arriving punters.
Perth’s Allbrook/Avery were no doubt unknown to the vast majority of the audience. Including a couple of Tame Impala members, they take a different approach to retro-heavy music by dialling in ‘50s romantic pop and ‘70s glam rock with invigorating and often surprising results. It sounded like it was hanging together by a thread – delightfully so – and the interplay between the dual frontmen has a unique quirkiness that demands further exploration.
RÖYKSOPP - PALACE, MELBOURNE - 02/02/12
Röyksopp fans are out in force tonight and super excited to be able to see the Norwegian duo strut their electronic stuff. Expectation naturally runs high as it is the first time in their decade-plus career that they have toured Australia. More hardcore fans have been waiting at the front of the stage to see tonight’s headline act, practically since doors opened, but seem happy enough to be entertained by a couple of dudes called Strange Talk DJs. Casually flipping tunes on CDJs, they drop a serviceable set comprised of bouncy electro-tech remixes of recent indie-dance hits. They play exactly what you would expect to hear members of an indie-dance band to be spinning in their spare time. It is a shame that the rest of their band doesn’t join Strange Talk DJs to play live tonight. An emerging indie-dance act from Melbourne, Strange Talk attracted comparisons to acts such as Cut Copy and Miami Horror with the launch of their self-titled EP last year.
Before too long the stage is swamped by roadies who are working through the usual routine of plugging in and turning everything on. Röyksopp hit the stage resplendent in outfits and masks that seem to showcase the more sinister side of middle earth fashion. Kicking off with a driving version of Alpha Male, Svein Berge and Torbjørn Brundtland create a lush explosion of synthetic sound from behind banks of keyboards. A guitar and bass player join them on stage and their efforts add extra grunt to the mix. A simple-but-forward facing light show, designed largely to blind the audience, adds a sense of drama to the proceedings. The cheesy Moog hook of Happy Up Here, which sounds like part two of Eple, provides a little light relief.
GIRLS - OXFORD ART FACTORY, SYDNEY - 02/02/12
Crowds shook themselves off of Sydney’s shitty summer rain and entered the warm and cosy other world of Oxford Art Factory to see Girls’ Laneway sideshow. Proceedings kicked off with Loon Lake – the band you don’t think you know until you realise what you are listening to has been doing the rounds and is damn catchy. Loon Lake is the perfect picture of happy family with three brothers making the bulk of the band. While the band at times lacked presence on stage, they made up for it with a solid set of tunes. Loon Lake is no one trick pony, with a repertoire of songs that vary in sound and style.
Girls took to the stage in dim lighting with flowers adorning their microphone stands in some kind of ‘60s teen girl fantasy. Lead singer Christopher Owens stood on the stage bent over the microphone with his guitar with the words coming out of his mouth in a trance – as was the audience. It was difficult to tell at times whether he was rubbing sweat off his face or tears, as he seemed so connected to what he was saying. Vomit was beautiful and haunting live as Owens pleaded for his love to come into his heart. Honey Bunny and Lust For Life were lighter moments in the set that gave the audience the opportunity to let loose a bit and have a bounce around, as they sang back to Girls word for word.
ODD FUTURE WOLF GANG KILL THEM ALL - HI-FI BAR, MELBOURNE - 01/02/12
The mood of the (heavily male and entirely young) queue snaking down Swanston Street is ‘stoked’! Few acts have been more hyped with less commercially available material as Odd Future Wolf Gang Kill Them All. Already legendarily divisive, if head honcho Tyler, The Creator had a dollar for every irate blog post, expletive-laden defensive YouTube comment and carefully considered opinion piece, he could buy Apple. But as tonight’s show proves, they’re not the North Korea of bands they’re made out to be (attention-seeking outsiders who regularly hint at serious danger but rarely deliver). They’re crowd-hyping party guys who use every inch of the stage and know how to put on a show.
With no support act, pre-show entertainment comes in the form of several hundred people occasionally cheering and squealing as one of the OFWGKTA collective walk across the stage. Members wander through the crowd and stand around, looking as though they have somewhere to be. As showtime approaches, cheers are replaced by chants of “wolf. GANG. wolf. GANG” and fears of a small turn-out (hinted at by the show’s move from the Palace and the $70 tickets) are dispelled by a large crowd who can’t wait to lose their shit.
CAGE THE ELEPHANT - NORTHCOTE SOCIAL CLUB, MELBOURNE - 31/01/12
Cage The Elephant sound like they emerged from Seattle rather than Kentucky. Lords Of Dogtown meets ‘90s grunge, straight from your parents’ garage comes an electrifying performance in the tiny den of Northcote Social Club tonight.
“We really had a great time at Big Day Out, but even after two songs right now I know its gunna be a better show,” frontman Matt Shultz blasts into the microphone. The crowd squeal with excitement. Out of breath and almost loud enough for earplugs, Shultz bleeds out the bandroom. He is unbelievably charismatic. Go-go dancing to Stabbing Black Betty, “You’re a dead beat feel sorry for your mother/If I had time, I’d trade you for another!” He takes the piss and you can’t help but want to become part of the droning mob captivated by this wild man. Poetic and erratic, these boys drag you in and toss you away in the best way we know rock’n’roll can do. With hints of The White Stripes and The Black Keys keeping them bluesy as hell, they cross a lot of genres in a small space of time. And they do it very well.
- @soundwavefest's SistersOfMercy name dubsteppers BassNectar and metallers Motorhead as their fave bands atm: http://t.co/Zc9d8cKp Feb 22, 04:43 PM
- @BallParkMusic have been added to @GroovinTheMoo after an international cancellation. http://t.co/rWOCQJB0 Feb 22, 09:17 AM
- NY's EndlessBoogie have primed themselves for @goldenplains by watching the Oz Sunbury doco & they talk ColouredBalls: http://t.co/4glaUHLR Feb 19, 02:18 PM
- Heritage rocker Nick Lowe is relieved there are now gigs 4 oldies like himself & Dylan: http://t.co/15ehhAQl He'll b here 4 @BluesfestByron Feb 19, 01:15 PM
- @freddurst was at a loss for words when we spoke to him ahead of @soundwavefest - here's why: http://t.co/AnSLImsP Feb 19, 12:25 PM
- A full list of gigs in support of @SLAMRally tomorrow http://t.co/w059lnbA Feb 22, 01:21 PM
- @adrianpereira10 no dates for an AU release of that model yet mate, will let you all know if that changes Feb 20, 12:52 PM in reply to adrianpereira10
- Who can't wait to catch this? http://t.co/9tTklpbM Feb 20, 09:41 AM
- @mi1ez not at the moment! Feb 17, 01:08 PM in reply to mi1ez
- @adrianpereira10 hey Adrian - check in at Harvey Norman, Bing Lee and Billabong stores to soothe your soul! Feb 17, 10:07 AM in reply to adrianpereira10