Gig Review: At First Sight Festival

12091349_10153196569596911_2141569986128630729_o

What kind of world do we live in that some fucking ginger kid with the social etiquette of Todd Carney on a handful of pingas can make out with a copy of Slayer’s Show No Mercy AND boogie to NO ZU in the space of a single day> It’s a truly  barbaric thought, and it’s one that came true just a few days ago. At First Sight Festival, curated by Marty Doyle of Dusty Fingers fame, happened over the weekend, and it was a truly glorious time for all involved.

Full disclosure – I was involved in some aspects of this festival, but not anything that could be considered important. Nope, Count Doyle did it all, from booking an incredible lineup which somehow deviated from the usual Tkay Maidza/Hilltop Hoods/Sticky Fingers combination, to the promotion, scheduling, and other organisational duties that no sane person should be willing to take on. Instead, I was tasked with trapping a member of Blank Realm in a car, and chewing his ear off for hours on end. It did mean missing the early portion of the festival, but according to multiple eye-witnesses, Rolling Blackouts and Royal Sitars were best on ground.

The first moments of At First Sight that were seared into my eyeballs belong to the explosive set of Palms. Seriously, if you haven’t listened to their new album Crazy Rack, then fuck off and do so. There’s no reason to continue reading, just plug yourself into this masterpiece for the next half hour and only return when you’re finished. Done? Fucking hell, so you’ve come to the realisation that these Palms dudes would sound alright blaring out from a fuck-off, huge mountain of speakers, yeah? Because that’s what happened; Palms ploughed through all the hits from their two records to date, smashing “This Last Year”, “Love”, “Bad Apple”, and “Beatdown” with the kind of howling ferocity that forces you to lift a fist (IF NOT BOTH) in the air with mashing glee.

TEESNicholas Allbrook and Lucy Cliche all swiftly followed with impressive sets. TEES provided a dreamy set that showcases that their dreamy pop material works just as gorgeously on a stage as it does in .mp3 form, and Nicholas Allbrook brought the weirdness in leaps and bounds. Literally, the man cannot stay still – although his set suffered from such sporadicalness, shifting manically and at an unpredictable whim, the POND frontman remained enjoyable. Lucy Cliche was a bevy of intensity, her thudding, sharp dance music transforming a small bunker at 3pm on a Saturday afternoon into a thriving hive of hungry gazes and shuffling feet. Do yourself a favour, and make yourself as familiar as possible with her work.

This next passage might seem hyperbolic, but it’s not. If anything, whatever words I type next will be under-representative of the insanity that is NO ZU. An eight piece hydra indebted to raising the heat of a room by several degrees, the Melbourne collective had pulses racing at an unhealthy rate. Folks should have been having heart attacks from all the exercise that was going down, but sheer joy and anticipation for what NO ZU would pull out next forced them to party on. They remain to be one of the funnest, strangest, most exotic things on this planet, a laboratory of thrilling genres mashed into a sweaty dance-floor filling experience. Forget heroin, NO ZU are the most addictive substances on the planet.

Still reeling from NO ZU, Nun continued the legacy of Melbourne acts putting on exhilarating performances. A member was wearing a Gutter Gods t-shirt and that wasn’t even the most punk thing on stage. Front woman Jenny Branagan is fucking mental to watch. She is the greatest thing to happen to a stage since our prayers were answered and Dave Growl fell off of one. She jumps, dives, sprawls, screams, thrashes and delivers shriek after shriek, her band’s domineering wall of synth punk throwing jabs from behind her. Incredible – if you haven’t picked up their debut album then fix this gaping mistake in your life with a little bit of this.

Following Nun are Brissy’s Blank Realm, who have been awarded the very prestigious honour of “BEST FARKIN BAND IN AUSTRALIA”. They get this award because they a) wear Pere Ubu t-shirts, b) rock keytars like Duran Duran didn’t fuck it up for everyone, c) are possibly the best songwriters in the country and d) because fuck, have you heard Blank Realm before? They’re amazing! Of course they rule live, how could they not? When you’re a band that owns a cache of tunes like “River of Longing”, “Falling Down the Stairs”, “Reach You on the Phone” and “Go Easy”, it’s hard to be anything less than “BEST FARKIN BAND IN AUSTRALIA”.

Previous duties withheld experiencing My Disco, Broadway Sounds, and most of Andras’ set, but hey, we all know these acts are national treasures, so build a Spotify playlist, and get over it, y’know? Let’s move onto Oscar Key Sung: draped in cloth, the man is pure beauty constructed around eyes of steel and a voice of cotton. His beats switch from lush and textured to the occasional pummel, however, it did feel like he could have benefitted from someone else onstage to help him. It’s hard to fully enjoy a crooner like Key Sung, who is so concentrated on flipping between production, singing and entertaining. He worked best when he was joined by Amrita, who danced their way into all of our adoring hearts, and freed Key Sung up into a party mode.

Moving onward to Total Giovanni – now they’re a band that could give Blank Realm a run for their money. The tagline for this band is “Fun. Incarnate”. With enough energy to power the LargeHadron Collider,  Total Giovanni are Italo-disco superstars, bestowers of the silky sensual. This is a group with only a handful of singles to their name, but every single beating heart in the cavern of Carriageworks was thumping along meticulously to the party that Total Giovanni were delivering. What was the greatest moment? “When We Break” churning a few hundred people into  a sea of flailing bodies? The over-the-top, pelvis-shattering thrusts that took place during “Human Animal? Or the batshit crazy cover of Eddy Current Suppression Ring’s “Precious Rose”? Trying to decide the answer to that question is aneurysm-inducing.

By some miracle, the best moment of At First Sight didn’t belong to any one of the bands mentioned above, but rather, a combination of them via Uncle Donny’s Rotating Sideshow of Stellar Performance aka the Donny Benet Showband’s Tribute to Nile Rodgers. Bringing out all the day’s superstars, including Becky Sui Zhen and Daphne Camf of NO ZU, Oscar Key Sung and Vachel Spirason of Total Giovanni, Donny and co. re-introduced some of the past century’s biggest hits, resulting in an all-out dance bloodbath. The sea was angry that day, my friends. Oh, it was an angry mosh of people screaming, “OH FUCK, I LOVE THIS SONG!” as DB and his merry band played the best version of “Original Sin” since Hutcho called it quits. Special mention goes to Nicholas Allbrook for a very special performance of Mick Jagger’s “Just Another Night”, and in turn, transforming a so-bad-it’s-good song into something so-good-it’s-brilliant.

It’s worth reminding everyone that, whilst all of this amazing music was happening, people were record shopping. Two of the greatest habits, combined into one day! How can someone like me be lucky enough to get The Saint’s I’m (Stranded) and get the opportunity to witness a one-of-a-kind musical experience courtesy of Donny? It cannot be overstated how much of a miracle it is that all of this could happen under one roof: the bands of tomorrow shredding minds and expectations to tatters mere metres away from where some of the most important records are being sold. That’s the dream, ladies and gentlemen. That’s the fucking dream. See you at Carriageworks next year.

Advertisements

Top 20 Australian Songs of 2014

It’s that time of year, when I sell my soul, and conform to the expectation that all blogs, no matter how small and shitty (of which Soundly Sounds is both) needs to compile an end of year list, summarising all the great things that have been accomplished by the fair artists of the year. Now, if you’ve ever been on this blog, or heard words out of my mouth, it becomes apparent that I have a habit of hyperbole, and describing everything as “my favourite” or “the best thing ever”. Well, now it’s time to pay up, and show what I, King Deadshit, reckons is the best of the best this year.

Fuck, this shit is really hard. One of the hardest things I’ve had to do. As opposed to the Best Videos of the Year, and the Best International Records,  this list has taken me days to put together, as I’ve been more indecisive than a newspaper editor trying to decided the front page between a story in which David Beckham and Ryan Gosling have constructed the world’s most beautiful baby, or an exclusive interview with Clive Palmer’s fourth chin. A toughie, that’s for sure.

Anyway, here are the picks of the year – Aussie songs that have made people turn their heads, jaws drop in astonishment, and allow for spines to be frozen over in fascinated horror. The list was torturing me, so it’s been lengthened to 20. Also, songs that were just released as singles got preference over stuff that was on albums, simply because those are coming in the next list! OH FUCK, CAN YOU EVEN WAIT THAT LONG, OR ARE YOU GOING TO CRYOGENICALLY FREEZE YOURSELF UNTIL IT COMES OUT, WALT DISNEY STYLE?

Honourable Mentions: Step-Panther (Parallel) Solid Dad (Kewl December), Jack Ladder (Her Hands), Andras & Oscar (Looking Back), Babaganouj (Bluff), Disgusting People (I Wanna Ctrl Alt Delete My Life), The Stevens (Thirsty Eye), GL (Won’t You See), Wives (Buried), Day Ravies (Hickford Whiz) Dead Set Ledger (Buddy’s Kickin’ Screwies on the SCG).

20. Miss Destiny – The One

A lambasting surge of sound from Melbourne’s Miss Destiny, this song is like Courtney Love being thrown in a blender whilst The Donnas and The Darkness throw down.

19. White Hex – Paradise

White Hex released a badass synth record earlier this year, ‘Gold Nights’. Dangerous seduction was the game, the kind that Michael Douglas would engage in, and White Hex won. Jimi Kritzler, former Slug Guts member, also released a fantastic book this year, “Noise In My Head”, but “Paradise” makes a case for being Kritzler’s no. 1 achievement of 2014.

18. Bachelor Pad – Fried

Bachelor Pad’s garage rock enthusiasm is irrepressible – it is actually impossible to stop them. Sounding like the bratty, cone-smoking kid of Ty Segall, “Fried” is as infectious as those warts that have started collecting themselves between your legs.

17. Postblue – Ugly

Poison City Records had a fuckn’ year didn’t they? Between the release of The Smith Street Band, The Bennies and re-releasing old Screamfeeder records, they found time for Postblue’s “Ugly”. On a record that’s full of affable, catchy rock tunes, Postblue especially stuck out on “Ugly”, an early Jebediah track that went through the digestive system of Steve Albini.

16. Total Giovanni – Human Animal

“Human Animal” makes me do weird things with my arms, but I like it.The bastard child between Daft Punk and LCD Soundsystem, Total Giovanni have a feverish cult of personality surrounding their music. It’s alluring, funky-as-swinging-leather-pants music that PT Anderson wished was around for the soundtrack of ‘Boogie Nights’.

15. Nun – Evoke the Sleep

Easily the most ferocious synth-punk released this year, Melbourne’s Nun provided a storming debut LP earlier this year. “Evoke the Sleep” makes the case for these guys to be considered amongst the likes of DEVO and Depeche Mode.

14. Old Mate – Requesting Permission

On the more heart-breaking end of the scale, there’s Old Mate. A member of Bitch Prefect, Pat Telfer’s “Requesting Permission” will make you start jabbering about all the random dust that’s flown in within the last 30 seconds.

13. Hockey Dad – I Need A Woman

South Coast-muzzas Hockey Dad provide a slab of feel-good surf rock that’s lathered affectionately in pop and fuzz, drives school-girls crazy, and is really fucking great. Hockey Dad just need to stop wearing their damn trousers so low, and they’ll be well on their way to success.

12. Dorsal Fins – Monday Tuesday

Pop music so good Madonna would want to rip it off. Beginning with urgent piano and stomping bass, Dorsal Fins turn things into up a dramatic notch for an 80’s singalong straight from the stolen brain of Debbie Harry.

11. Bad//Dreems – Dumb Ideas 

When the opening notes of “Dumb Ideas” ring out, it becomes fairly obvious that Bad//Dreems are going to provide another stomper of a track. A flippant flipping off, “Dumb Ideas” is a confident, surly piece of rock that Angus Young would want to call his own.

10. Liam Kenny – I’m The Ocean 

Fairs fair, when you’re covering Neil Young, you’re headed straight to the top of a best-of list. But when Liam Kenny (Peak Twins, Bitch Prefect, The Friendsters, Roamin’ Catholics) does it, it turns into a squalling guitars, and heart-clutched vocals.

9. Tempura Nights – R.I.P Chix

Brisbane’s on a roll right now, with Velociraptor, DZ Deathrays, Babaganouj and Major Leagues all kicking major goals this year with releases and singles. But Tempura Nights, a lil’ suprgroup, kicked the most amount of ass with “R.I.P Chix” a sweet garage sprinkled with Deal sister guitar and the kind of head noddin’ you’d expect from a Brissy pop band.

8. Peter Bibby – Hates My Boozin’

Peter Bibby is a moper amongst mopers, a bloke who paints his own portrait with a bottle constantly in one hand and an impossibly perfect rolled cigarette in the other, carefree and full of whimsy on the outside, but burning up within.

7. King Single – Restart Newstart Allowance

A certain Bare Grillz/Lenin Lennon member changed things up by providing gorgeous guitar-pop and glassy drum sounds that create only one reaction in all within earshot: *SWOON*.

6. Richard In Your Mind – Hammered

Richard In Your Mind say it best when they swing drunkenly upon the line “Me and my baby get hammered in the daytime”. From their latest record ‘Ponderosa’, it’s a honeyed trip into the tastily warped senses of Richard In Your Mind.

5. The Harpoons – Unforgettable

As far as breaking up goes, no one seems to have hit it on the head harder than The Harpoons. What a bunch of sultry crooners! It’s a jam that’s part Caribou, part TLC, and part doe-eyed wistfulness that feeds upon your heart like a piranha of romantic longing.

4. FLOWERTRUCK – I Wanna Be With You

Speaking of romantic longing, the best band that seemingly came out of nowhere was FLOWERTRUCK. Bursting forth from the same scene that’s brought Big White, High-tails, and New Lovers, FLOWERTRUCK make the descriptor ‘infectious’ cower in fear. They’re Sydney’s own version of Blank Realm. If David Byrne and Bryan Ferry exploded into fit of joyous crooning, amid slashing puffs of synth and guitar, it’d be about as great as this.

3. Donny Benet – The Edge. Feat Kirin J Callinan

Donny Benet. The man. The legend. The myth. There ain’t nobody like this feller in the universe, mainly because there can only be one moustache-weilding, impressively groomed prince of seduction in the world. It’s a Highlander thing. On, “The Edge” Kirin J Callinan and the Don do battle over five minutes of exhausting sexual healing.

2. Weak Boys – Hangovers

“Hangovers” sort of set the staple for what my 2014 was, along with many other budding attendees of whatever Inner West domain Weak Boys have been fortunately dominating. I’ve listened to this song more times than I’ve asked for a jug of Resch’s at the Lansdowne. My intimidatingly large beer belly nods in agreement.

1. Constant Mongrel – New Shapes

In 2014, no single came close to the grisly terror imagined on Constant Mongrel’s “New Shapes”. Melbourne’s most ferocious unleash a bass-driven hellscape that indulges primal and carnal desires. As far as finale’s go, Constant Mongrel went for an ending more taut, nail-biting and mentally draining than the conclusion of ‘Heat’. A blood-caked knuckle-duster ride into a starved post-punk oblivion, “New Shapes” is the kind of thing post-apocalyptic hero would throttle in their car as they ravaged a scorned landscape in survival mode.

Top 10 Australian Albums of 2014 (So Far…)

7cf6b-grassed-inn-cover

There have been an orgy of new Aussie releases this year that have tickled the chin of genius, and caused her many rolls of fat to quake in laughter. But there have been a few that have genuinely succeeded in being goddamn masterpieces. These, are those records:

10. TIED: Nathan Roche-Magnetic Memories + Shrapnel-Tobacco Dreams

I honestly couldn’t decided between these two works of art. One is a laid back bible on whatever happened to come into Nathan Roche’s mind when he strummed the chords, and the other is a deceivingly simple collection of pop songs that make Mac DeMarco look like a rookie. But both Nathan Roche and Shrapnel exceed in making unique statements with their albums that few Sydney bands, indeed Australian bands, could think up over years of training.

9. Rat & Co-Binary

The second album from Rat & Co is a sonic tapestry, something that combines the past with the future extraordinarily easily. Rat & Co cover a million different varieties and spices on this album, from lush synths and haunted child samples in ‘Vocal Insanity’ to the glacial ‘Calculated Movements I, II and III’. But ‘Binary’ remains a solid fixture of the Rat & Co thesis of creating beats that’ll surpass the band. Hopefully, when aliens dig up this civilisation in millions of years, they find this album instead of the new Lana Del Ray record.

8. HTRK-Psychic 9-5 Club

The HTRK story is a tortured one, but that’s probably what helped them to become the strong and identifiable unit they are today. HTRK’s new record moves in honeyed and dance-worthy directions. Although rife with the kind of saddening lyrics that are expected from a HTRK record, ‘Psychic 9-5 Club’ is infinitely less abrasive as previous material, and allows itself to be, dare I say, accessible. Songs such as ‘Blue Sunshine’ ring with an allure that is insanely gorgeous, and create a mystical atmosphere around this record that can’t be overstated.

7. Ernest Ellis-Cold Desire

The first record that introduced me to Ernest Ellis is, by far, also one of the greatest pieces of dramatic indie rock I’ve heard in years. Both intimate and expansive, Ernest Ellis manage to combine the blue collar poeticism of bands like The War on Drugs and Kurt Vile, with the grandness of U2. Akin to their touring mates Shining Bird, Ernest Ellis pull you into their album like your tumbling headfirst down a waterfall of happiness. If only my similes were half as good as the music on this album.But seriously, listen to ‘Black Wire’, your life will change.

6. Dune Rats-Dune Rats

Dune Rats sure did deliver on their debut album. After a couple EP’s and countless cockteasing, the guys who were previously most famous for this have gone n done a full LP. Full of the kind shit that made us fall in love with them in the first place, the album is a singles fest of fun, riotous tunes meant to be shouted back at the band at a show where there’s more joints than people.

5. Bachelor Pad-Dooming Out

Bachelor Pad are literally made of good times. It’s in their blood. If you cut open Huw, you’d get an overdose of fun-fumes and bongwater instead of blood. They’ve packed all that awesomeness into an album ready made to be the go-to party starter. Even if you’re an accountant that works for Telstra, you’ll be able to enjoy this album. Just listen to ‘Fried’, ‘Movin’ On’ or ‘Let Me Go’ and for a few minutes, everything will be centred around total, unobstructed gewd times.

4. White Hex-Gold Nights

Think of a scenario in which Depeche Mode are dipped in a vat of boiling acid, and their steaming carcass’ are used as the bare bones for a revolutionary dark-pop project out of Melbourne, half-headed by one of the guys from noise enthusiasts Slug Guts. White Hex’s second record ‘Gold Nights’ is exactly that, thudding synth work shuddering against shimmering walls of noise and breathless vocals from the amazing Tara Green. The results in this album are simply stunning, the kind of thing Robert Smith wished he’d invented.

3. Straight Arrows-Rising

Although this album hasn’t even officially come out yet, it’s been a steadfast go-to listen for the past month or so. Every time I need something to pick me up before going out, and I’m all Sabbath-ed out, I’m hitting up ‘Rising’ instantly. Packed with tunes that get the blood pumping and the genitals,, you guessed it, rising, the record could not be a better successor of Straight Arrows’ debut.

2. Nun-Nun

Another self-titled debut effort has cracked the Top 10. Man, I’m just fucking crazy, aren’t I? Anyway, the first LP (of hopefully many) from the Melbourne synth-punkers is a shock to the system on par with having Alice Cooper break into your house and throw a toaster in your bathtub. The songs on here range from far-out schizophrenic jams, to tight and ugly lil’ ravers that get up in your face like the most bratty kid imaginable. Overall, the record is unabashedly hectic and unforgettable.

1. Blank Realm-Grassed Inn

So, the best album of this shithole years so far, in my own humble opinion, is Blank Realm’s purple-glazed ‘Grassed Inn’. They created a pop masterpiece, and I will challenge anyone who disagrees to a jelly fight in a bathtub. I say that knowing the full consequences of uttering such a profound statement, but I stand by it. The tracks on this album have been mumbled under my breath on the train so many times, I think they’ve surpassed Madonna’s ‘Like A Prayer’. Every tune has a poignance and impressionability that surpasses almost every other pop release of the past couple years. The fact that the lyrics are heartbreaking and honest, and Blank Realm come from humble Brisbane beginnings is just a major, major plus. Goddamn, if you have a soul, you will spend the rest of your days listening to this album.

New Australian Music: Shrapnel + NUN + Lace Curtain + Full Ugly + Slow Violence

Boom, shackalaka! New Aussie music tunes to fill your ears unlike that hole in your life left by a yearning sense to accomplish something of semi-importance, and achieve self-fulfilment. Alas, Maslow’s Hierarchy of Needs will again go disused. Now go, cover that shame with some killer tunes.

Shrapnel-Print and Sign

Sam Wilkinson is a man of many guises, like some sort of musical Tom Cruise in Mission Impossible 2. Hell, both are located in Sydney! Shit, Sam Wilkinson is fucking Tom Cruise!

Massive coincidences aside, Mr. Wilkinson has a new project under the name of Shrapnel, which is a weird, psych-pop thing that has all the cuteness and warmth of a gentrified Chest-Burster. If ‘Print and Sign’ grew up in the wild, it would be a ferocious beast that’s sole aim in life was to rip open chest cavities, and wreak horror upon a crew of unsuspecting space explorers. Luckily, Sam Wilkinson tamed this gnarled terror into a lounging, Mac DeMarco-meets-MGMT (Brian Eno era) pop number, that ends in a tripped out passage that’s more Hitchiker’s than Alien. Damn, it feels good to drop dumb references to local music!

NUN-Evoke the Sleep

NUN (not to be confused with the surf-rock group NUNS) are one of the brightest and best synth-punk groups to come out of Melbourne since Primitive Calculators. They’re undulating, weird and best of all, really super. Their new single, which comes off their upcoming debut, starts out ultra-Devo. Penetrating synth chords develop under blinding heat, until eccentric-noise buries them and brilliant rays of Jenny Branagh’s voice evokes a most Doctor WHo re-indition of Olivia Newtown John’s ‘Let’s Get Physical’.

Lace Curtain-I Can’t Wait

Lace Curtain hold one of my favourite EP’s of all time to their name, so anything they produce will cause rabid fits of excitement, and put me into a minor form of mental institution. ‘I Can’t Wait’ is no exception, and only after listening to it multiple times could the perfect metaphor be crafted to explain its greatness. Dark, titillating post-punk rears it’s Loch Ness head from a murky marsh, as all the Swamp Monsters and Black Lake Creatures gather around and dance their flapping gill-heads into the night, never losing their gaze from the tyrannical sounds onstage.  Copious amounts of MDMA were all involved in the production of such an orgasmic gathering of oft-overlooked B-Movie Monsters.

Full Ugly-Hanging Around

‘Drove Down’ was one of the most criminally underrated songs of 2013. Even I, No.1 Ginger of Sydney, didn’t recognise the brilliance of this 7″ for quite some time. And I felt the wrath of personal underachievement for quite some time. BUT ALL SHALL BE RECTIFIED, because Full Ugly have gotten around the releasing a new single! Although ‘Hanging Around’ doesn’t hold the same ability to touch upon all the emotions of the rainbow like ‘Drove Down’, it still showcases Full Ugly as one of the best slacker bands in Australia.

Each chord in ‘Hanging Around’ seems to drip off each other, forcing your rigid, cynical neck to bop up and down in the most fluid and gentle of ways. And the chorus, although sung in an off-the-cuff, casual way, has the same potency as if it had been screamed into your face by one of the bands off Cool Death Records. Doper than a Jesse Pinkman monologue.

Slow Violence-New Teen Angst, Pt. 2

Slow Violence? New Teen Angst, Pt. 2? Yeah, there’s no fucking way these guys aren’t a really shitty Black Flag rip-off that actually spent more time listening to My Chemical Romance and Taking Back Sunday than they did with ‘My War’. Only, they’re not. Instead, Slow Violence provide one of the most subtly comforting soundtracks in recent history. A mostly ambient mix, there’s traces of sighin’ R&B (‘Crushin’), Jon Hopkins shufflin’ (‘Limb’) and post-rock akin to Explosions in the Sky-meets-The National (‘Kidz’). Woah…did your jaw just drop? Mine is currently chilling on the opposite end of the Earth, somewhere around Greenland.