"People won't be people when they hear this sound" - Battles, Forum Theatre, 28/01/2012

New York math-rock experimentalists Battles have certainly found a solid footing in Australia, touring this country on several occasions prior to this year and selling out many of their shows. The group were last on our shores in 2009 as part of the Vivid Festival in Sydney, but since then, a few important events have taken place within the Battles world. Perhaps the most notable of these was the departure of founding vocalist/keyboardist/guitarist Tyondai Braxton, who wanted to take a bit of a break from the band, and so amicably departed during the recording sessions for their sophomore album. But the remaining members – Ian Williams, Dave Konopka and John Stanier – pressed on as a trio, and in 2011 released an absolute beauty of an album entitled Gloss Drop. In Braxton’s absence, the group kept the album mostly instrumental, but for a few songs called upon the talents of a rather impressive cast of guest vocalists – Matias Aguayo, Gary Numan, Kazu Makino and Yamantaka Eye no less! Now, with a returning slot on the 2012 Big Day Out lineup, Williams, Konopka and Stanier dropped by the Forum on a Saturday night to treat their Melbournian fans to something a little more intimate and longer!

Up first on the bill was Melbourne electronic performer Mathew Watson, under the moniker Other Places. On stage left, Williams took care of the synthesizers and electronic-based side of things, while his friend Dave Williams proved himself to be quite handy with the drumkit in the centre of the stage. It was a real shame that Other Places suffered the typical “opening act” effect – that is, there was hardly anyone in the room while they were performing, and those that were there didn’t seem like they were too fazed or affected in any way by the music coming from the stage and PA. However, Watson’s sounds proved very enjoyable, as he delivered a short but sweet set of glitchy electronica that certainly didn’t seem out of place on the bill considering the headlining act. The sound of the PA was absolutely massive too, with some of the heavier frequencies being heard and felt in equal measures. This guy has the potential to go places (pun slightly intended).

There seems to be quite a few people singing the praises of Melbournians Witch Hats at the moment, which was perhaps how they got themselves noticed and got the honour of supporting Battles. However, they didn’t really seem to be the ideal band suited to this particular occasion, and they too received a polite but mostly lukewarm response from the growing crowd. It would be foolish and indeed, blatantly incorrect to say that the band aren’t talented, but their indie/garage sounds just didn’t match the band they were opening for, and it all sounded a little same-old same-old, given that the headlining act for the evening have made a name for themselves for being sonically groundbreaking and a little bit “out there”. This is one band that would definitely be better enjoyed on a boozy weekend night with a lineup of likeminded acts at a venue such as, say, the Tote or the Workers, rather than opening for an international math-rock band at the Forum. But to their credit, they took to the occasion with enthusiasm and vigour, delivering a solid set that gradually got more interesting, but still not interesting enough. For their last song, there was a quick set-up of a keyboard on one side of the stage, which was then played by a previously unseen guest. This all seemed a bit pointless really for only one song, but then again, a few people in the crowd were probably secretly glad that the set had finally come to an end and the focus could finally shift to the headlining act.

Two video screens sandwiched between a wall of amps flickered into life, and the crowd reacted suitably, as three blokes made their way to the rather impressive array of instruments in the centre of stage. With a familiar loop making its way into the mix, it was Gloss Drop opener Africastle that opened the set tonight, and right from the word go it became obvious that Battles were well on their game tonight and were easily going to live up to the expectations that the crowd were placing upon them due to their previous reputation. Williams and Konopka looked suitably busy even in just the opening minutes – in Williams’ case he’d be playing away on his guitar one minute, before abruptly throwing it behind his back to juggle various keyboard and electronic duties. On the other side of the stage, Konopka spent a large portion of the set on the floor playing with pedals, as well as switching between guitar and bass even in mid-song.

Obviously the band are unable to tour everywhere with the Gloss Drop guest vocalists, but as Africastle gave way to Sweetie & Shag, the crowd was introduced to Battles’ simple yet effective way of making sure the vocalists’ presences were still felt in the live situation. Blonde Redhead’s Kazu Makino appeared on the video screens in pre-recorded form, delivering her vocal lines to the song in perfect accompaniment to the trio who were recreating the song on stage. The band would use this trick a few more times throughout the evening – namely with Matias Aguayo on Ice Cream, and Gary Numan on My Machines. It’s always fun to see a band perform songs a little differently onstage than they did on their album, and Sweetie & Shag and Ice Cream had some very interesting extended outros. And of course, in Braxton’s absence, the pair of older songs that made it into the set were given something of a sonic makeover. An early rendition of Atlas, which saw the crowd understandably lose their shit as soon as those recognisable riffs made their way into the mix over Stanier’s unrelenting metronomic assault, saw Braxton’s pitch-shifted vocal wackiness replaced with what sounded like a children’s choir. Though this new approach to the song was a bit unexpected, for the most part it still sounded like the song that the fans know and love from the group’s immensely popular debut album Mirrored, and it got probably the biggest reaction on the night. Another popular track from Mirrored, Tonto, was stripped-back and not performed to its full studio length, however unlike Atlas it was debatable whether this new version of the track worked well with the crowd.

All through the night, there seemed to be absolutely no faulting the performance of the three people onstage – at some points of the set, it wasn’t clear whether those were indeed humans up there, as their musicianship frequently reached robot-like levels, especially in the case of Stanier. No matter how complex the loops got, no matter how many layers of sound were layered upon other layers of sound, Battles just refused to fuck up. Finally though, as Gary Numan appeared on the video screen to sing My Machines, it was technical difficulties that threatened to derail an otherwise flawless performance. Williams struggled furiously with his pair of keyboards, but during most of the song, it seemed that he could not get any sound out of them and at one point a technician had to quickly dash onstage to attempt to fix the problem – which he apparently did. By the end of the song though, it seemed all was rectified, and the trio brought it home with a solid rendition of Futura, the video screens featuring a clever animated display of the pink mess that adorns the Gloss Drop album cover.

An encore at this point seemed a little unnecessary, but the crowd certainly weren’t complaining about the chance to have more Battles in their life, and Williams and Konopka kicked it all off with a feedback-drenched introduction to the concluding track on Gloss Drop, the sonic behemoth that is Sundome, before being rejoined by Stanier after a few minutes (no doubt he needed a bit of extra time to recover!) Though unfortunately this particular track would not feature the vocalist-on-the-screen technique (a real shame, as this song features the amazing Yamantaka Eye from Boredoms), it was still a stellar way to conclude the evening, as the band delivered a delightfully wacky extended version of what’s already a slightly longer than average track! At last, it was all over, and as the band departed the stage, the rapturous crowd farewelled the band in the usual fashion, but there was an added sense of stunned amazement at what those three blokes from New York had just done.
SETLIST:
Africastle
Sweetie & Shag
Dominican Fade
Atlas
Wall Street
Tonto
Ice Cream
Inchworm
My Machines
Futura
----Encore----
Sundome

TOP TEN GIGS OF 2011! (Need I say more...)

Ah yes, it's that time of the year again, when I look back at the past year of live music and go, "Fuck, that's why I have a near $2000 credit card debt!" Now at this time of year, it's usually the point where I go, "Well, it's going to be hard to top THAT!" But 2011 raised the bar sky-high once again, and delivered us a whole lot of quality acts that made the year just as memorable as previous years. The year was so good that I had to change one of my long-standing rules about awarding gigs a place in my top 10, and that is the rule that festival performances cannot make it in to the countdown. I had this rule in the past because, well, anyone who considers themselves a proper gig enthusiast knows that a band is much better enjoyed in an actual proper music venue at their own show, rather than a truncated set on a stage that’s also playing host to numerous other unrelated acts before and sometimes after them! This year however, some certain acts put on some absolute belters at festivals, and were certainly among the highlights in terms of everything else. It’s also important to note that some performances are often held as exclusive to the festivals, and the artists didn't get the opportunity to perform outside the festival at a "sideshow". Therefore, I have amended the rule! If a band/artist plays a truly unique and outstanding performance at a festival, and preferably didn’t perform their own show during the tour, then they are now allowed to qualify! Anyway, enough preamble, let's begin!

10. Tool (USA), at Sidney Myer Music Bowl, February 2. With support from Jakob (NZ).
A few people expressed the opinion that Tool weren't really living up to the lofty expectations placed upon them at their Big Day Out performances, and indeed on the night of the Melbourne Big Day Out, a good friend and I decided to skip their closing performance on the Main Stage in favour of something a little more... visceral. Nevertheless, I had a ticket to their Melbourne sideshow a few days later (perhaps this was why it was so easy to walk in the other direction at BDO), and was very keen to see what they'd do given a lengthier set which took place mostly in darkness, at a pretty special venue. And, thankfully, it completely lived up to expectations! A few extra songs, some special guest apperances, a bloody FANTASTIC light/laser/visual extravaganza, this was Tool as they are meant to be seen. Despite the fact that they haven't released any new material since their last trip to this country in 2007, it was still a damn fine performance from the prog-inclined alternative metal titans.

9. Primus (USA) & Melvins (USA), at Palais Theatre, March 3. No support.
The news that Primus were heading to Australia for the first time in god-knows-how-long as part of the Soundwave Festival got a lot of people very excited in the pants (and just about every other) region, but when it was announced that they would perform a joint headlining sideshow with the MOTHERFUCKING MELVINS, there was understandably a mad rush for tickets for the relatively small (and completely seated) Palais in St Kilda. Buzz Osbourne and his crew (the full band this time, unlike their last appearance on Australian shores in 2009) got things off to a sludgy, slightly bizarre start, before Messrs Claypool, LaLonde and Lane brought the house down with an amazing set of timeless tunes from their back catalogue - even throwing in a few new ones here and there!

8. Russian Circles (USA), at Corner Hotel, September 8. With support from Coerce, SCUL HAZZARDs and Bronze Chariot.
What was it about post-rock last year?! Whether they were the bands from our own backyard doing their thing, or those more established internationals being brought over, it's fair to say that fans of all things noodly and complex had a fairly good twelve months in 2011 in terms of live gigs to attend. Unsurprisingly, it was Rob MacManus and his Heathen Skulls banner that brought over Chicago's Russian Circles, one of America's finest exponents of the "post-metal" sound - the heavier take on post-rock that has been pushed out almost into the mainstream by such bands as Isis, Pelican and of course the mighty Neurosis. Sounding surprisingly heavy for a three-piece, the band managed to wrestle some incredibly monstrous sounds of the Corner PA, balanced out by their own dexterity and technical proficiency with their respective instruments. Hypnotic at times, crushing at others, amazing at all!

7. sleepmakeswaves (AUS), at East Brunswick Club, 22 July. With support from This is Your Captain Speaking, These Hands Could Separate the Sky, and Lunaire.
Before I dive into a quick review of what was obviously an outstanding gig to make my top 10, can I just draw attention to somethig extra special? THIS WAS AN AUSTRALIAN BAND! In the three previous years that I have bothered to sort my gig memories out into some form of order based on excellence, for some reason local bands never quite seem to make the cut. Why is that so, I wonder? I think the obvious reason is that you usually get to see them quite often, more than you do those bands who have to get on an aeroplane to get here anyway, and it just doesn't seem quite as special to witness their live exploits. But nevertheless, this year a little post-rock (yep!) band from not-so-far-away Sydney came to Melbourne to launch their smashing debut longplayer on what I remember as being a very chilly July evening. The mood was set right from the word go by a series of excellently-chosen likeminded musical acts, and then once sleepmakeswaves took to the stage... WOW. Despite the fact that many in the room (including myself) were hearing these songs for the very first time, given that the album had just been released the day before, it stopped nobody from absorbing and enjoying the band delivering their amazing command of dynamics, tension and mood. And of course, what better to way to end the set than with a guest appearance from one Tim Charles, lending his incredible violin talents to fan favourite One Day You Will Teach Me to Let Go of My Fears? Utterly spellbinding.

6. Rammstein (Germany), at Big Day Out, Flemington Racecourse, January 30.
Well, it's fair to say that when a band of this calibre returns to Australia after a massive TEN year absence (ten years which featured the release of no less than four albums), the anticipation among the fans is expected to be at an all-time high. The German Neue Deutsche Harte six-piece have been known to deliver some pretty spectacular live shows, and this was no exception! It began with a giant black curtain stretching from the ceiling to the floor, completely covering the view of the stage. As the slow-building synthesiser chord intro to Rammlied became audible, Till Lindemann’s voice drifted out across the grounds of Flemington Racecourse, and then the guitars came in, along with the chant of “RAMM! STEIN!” That black curtain came down, only to reveal another curtain, which happened to be a giant German flag. Then as the second “RAMM! STEIN!” kicked in, an almighty explosion saw the flag/curtain fall, and there they were! The band certainly made up for lost time, playing a pretty ripping set which managed to cover all of their six albums at least once, but perhaps more notably featured some pretty spectacular pyrotechnics and other stage theatrics. Flamethrowers on microphone stands, a keyboardist on a treadmill (only after he got "killed" by having fireworks poured on top of him), a crossbow that shot fireworks, a "random fan" that got set on fire... it was all there!
FULL REVIEW OF BIG DAY OUT 2011 HERE

5. Mono (Japan) performing Holy Ground with the Wordless Music Orchestra, at Forum Theatre, October 7. With support from Wintercoats.
Japanese post-rock (again!) quartet Mono released a pretty special album in the year 2010 - entitled Holy Ground, it featured the amazing band playing a stunning set of songs from across their career accompanied by an orchestra, cleverly dubbed the "Wordless Music Orchestra" in homage to Mono's instrumental sound. In 2011, the Melbourne Festival (who always manage to put on some absolutely stunning shows) managed to get Mono into Australia, with no less than TWENTY-THREE musicians on various orchestral bit and pieces, for an exclusive repeat performance of the Holy Ground set. Having live strings, brass, and let's not forget the gong, really made the difference as this album was brought to life in the most spectacular form possible, in what was unquestionably a venue that was the perfect choice for such an occasion. Stunning!

4. Swans (USA), at Forum Theatre, March 10, and East Brunswick Club, March 11. With support from The Necks (Forum show only).
The unexpected 2010 reunion of the inimitable Swans project excited many in the music community, with their first studio release in fourteen years, entitled My Father Will Guide Me Up a Rope to the Sky receiving plenty of positive reviews and generally being viewed as a solid return to the scene. It wasn't long before an Australian tour was soon announced, with the stunning Michael Gira and his current six-piece incarnation of the group making their way to our shores in March. The band first took their magnificent show to a packed-out Forum Theatre on a Thursday night, and then headed to the more intimate environment of the East Brunswick Club to play a slightly longer set the following evening. On both occasions, Swans showed everyone that despite their overall sound and live performance being vastly different to their earlier days, they can still deliver a mesmering and incredibly visceral live show. If they ever play in your part of town, they are a MUST-SEE!

3. Spiritualized (UK) performing Ladies and Gentlemen We Are Floating in Space, at Vivid Festival, Sydney Opera Theatre, May 27. No support.
Though it hasn't been around that long, Sydney's Vivid Festival has really brought some great acts to our shores in its short existence, and the 2011 lineup was once again a cracker. As a Melbournian I didn't really get the chance to see all the acts I wanted of course, but there was one that I absolutely had to attend, and when one of your favourite bands is coming to perform one of your all-time favourite albums in full with a 30 piece orchestra, who cares what state the gig's in?!
FULL REVIEW HERE

2. Kyuss (USA), at Palace Theatre, May 8. With support from Fort.
Holy, fucking, shit. I saw Kyuss perform live. This evening completed my life. I'm not even joking.
FULL REVIEW HERE

1. Portishead (UK), at Harvest/The Gathering Festival, Werribee Park, November 12.
Yeah, after seeing Kyuss live I thought that there would be nothing that could possibly top it, but when the lineup for this festival arrived, I realised how wrong I was. Portishead were just absolutely stunning. Everything I expected from them, and a whole lot more. This was one special evening!
FULL HARVEST FESTIVAL REVIEW HERE

So that's it then! But you know what? We really were the lucky country last year in terms of all this live awesomeness being performed in our theatres, pubs and err, carparks! So for the first time ever, I'm going to throw in a few honourable mentions that weren't quite as good as the other gigs, but really, to not include them at all would just be wrong. In no particular order, the still great but not great enough gigs were!
Iron Maiden (UK), at Hisense Arena, February 23. With support from Rise to Remain (UK).
The Chemical Brothers (UK), at Rod Laver Arena, March 9. With support from James Holroyd (UK), Zane Lowe (UK) and Art vs Science.
Karnivool (AUS), at Corner Hotel, June 9, 10 and July 6. With support from Over-Reactor and Shockone.
Overground Festival at Melbourne Town Hall, June 12.
...And You Will Know Us by the Trail of Dead (USA), at Corner Hotel, September 7. With support from Laura and Sincerely, Grizzly.
Gotye (AUS), at Forum Theatre, October 1. With support from Husky.
Fucked Up (Canada), at East Brunswick Club, November 30. With support from The Smith Street Band.
Omar Rodriguez Lopez Group (USA/Mexico) and Le Butcherettes (USA/Mexico), at East Brunswick Club, December 13 and 14. With support from Dead River and Bad Orchestra (first night), and Dead Wasp and River of Snakes (second night).
Future of the Left (UK), at Corner Hotel, December 16. With support from The Nation Blue and Brat Farrar.

Whew! But wait, there's more! I'd like to present two more new awards, and they are...
Best festival of 2011: Meredith Music Festival, at the Meredith Supernatural Amphitheatre, December 9-11. This was just a no-contest. I suspect it will be the winner just about every year.
Runner-up: Harvest/The Gathering, at Werribee Park, November 12.
Best live Australian act: Sydonia
Runner-up: Jericco, Engine Three Seven

Another year comes to an end...

Well then, it's certainly been a while between drinks/blog posts, so I thought I'd just post a little something here to try and sum up exactly what's been going on in my musical world in the past month or so? Yeah, that sounds like a good idea. It's been a busy month! Too busy, apparently, to post regularly... so as I did around this time last year, here's a quick summation of the final gigs of 2011!

So, since Harvest there's been almost two solid months of gigs. The first really notable one was a typically thrilling performance from Sydonia (19/11), and if you follow this blog regularly, then you must know that I. FUCKING. LOVE. THIS. BAND. Especially this year. But this performance was certainly one that stood out from the rest, and you know why? The band decided to treat their loyal fans to a start-to-finish rendition of their debut (and thus far, only) album Given to Destroyers, giving every track a healthy full-blown live rendition! The full-album-in-order-live format has been used with increasing frequency by many bands over the past few years and for good reason - it works an absolute treat, especially if the album is as good as this one is! It was definitely nice to hear all of these songs together, as a lot of them aren't really staples in the Sydonia set anymore due to them working in new material from their LONG-AWAITED second album! Anyway, a cracker of a show!

More than a few eyebrows were raised earlier this year when it was announced that Fucked Up were joining some rock band called Foo Fighters on their sold-out megastadium tour of Australia. But it was no mistake - Dave Grohl's apparently a bit of a fan of the Canadian hardcore troupe, like we all (read, anyone with a half-decent taste in music) are really; the band's third studio album David Comes to Life has been getting almost unanimous praise from critics and fans across the board, and though quite a few of the less knowledgeable Foos fans were scratching their head as to who and why that fat guy on the stage was yelling things, the more openminded were more than happy to see the Canadians return to our shores for the second time in the calendar year (they'd been a part of the Soundwave juggernaut in early March). The band also got the chance to squeeze in their very own intimate performance at the East Brunswick Club (30/11), and what a show it was. The band didn't waste the chance, obviously performing a lot more songs than they would at the Foos shows, and knowing that they were performing them to an audience who were actually Fucked Up fans! A few days later (03/12), of course, Foo Fighters, Tenacious D and Fucked Up (as well as local duo DZ Deathrays) rolled into AAMI Park for a mammoth stadium rock extravaganza, and entertained the capacity crowd immensely. You can say what you like about some of their recent material (although Wasting Light is arguably a cracking return to form), but the fact is Messrs Grohl, Shiflett, Smear, Mendel and Hawkins are pretty damn comfortable on a live stage, and this performance was a true stand-out for the year, as they ripped their way through a healthy TWENTY-SIX song set, covering just about every single facet of their extremely lengthy and productive career.

Meredith, Meredith, Meredith. Just saying those words makes me miss the place. So the second weekend (9-11th) of December rolled around once again, and once again the trip was made to the Supernatural Amphitheatre. Where to begin? Grinderman were pretty much the name on everyone's lips in the lead-up to the festival and naturally, Jim Sclavunos, Martyn Casey, Warren Ellis, and Nick fucking Cave did not disappoint at all - however, they played an extremely unexpected card at the very end of the set, with Cave annoucing that the band was "over", and that they'd "see (us) in ten years, when (they'd) be even older and uglier". Who saw that coming, hey? Other than that though, there were plenty of musical highlights scattered throughout the two nights and three days - Icehouse played to everyone's undeniable love of nostalgia, Future of the Left brought their raucous filthy noise, Explosions in the Sky chilled things out quite nicely with their sublime brand of post-rock, Barbariön allegedly spent most of their budget on literal explosions and had the entire amphitheatre fist pumping and shouting along to their hilarious take on the excessive side of heavy metal, hardcore supergroup Off! played a ridiculous amount of songs in a very short time, and well, that's about it really isn't it? Well done Aunty. Happy 21st!

Just two days later, it was off to the East Brunswick Club for a night of SHRED (followed by ANOTHER NIGHT) (13&14/12). And who better to deliver it than Omar Rodriguez-Lopez, a man who has released a shitload of albums and been the driving force of two of my (and everyone else's with a decent music taste) bands, The Mars Volta and At the Drive-In. On this occasion he would also play bass in Le Butcherettes, a wacky Mexican/American punk rock group fronted by the extremely unique Teri Gender Bender who played quite a different style of music to the headliner! Then once that was done, Omar, backed by his Mars Volta cohorts in Juan Alderete on bass and Deantoni Parks on drums, treated the audience to a mind-boggling display of his amazing axe abilities. With a set that consisted mostly of tracks from the forthcoming Vato Negro album, it's fair to say that most of the audience was unfamiliar with the material being aired, but when the talent onstage is that fucking good, who cares?!

At Meredith, I had woken up on the second day with absolutely no voice as a result of Future of the Left's massive Friday night belter; suffice to say, I was keen to attend them again, albeit with a little more sobriety and common sense on my side. After all, they are releasing an album this year entitled The Plot Against Common Sense. Anyway. Falco and his band of merry men (and woman) were given the opportunity to play their own gig at the Corner (16/12) and they delivered another absolute ripper, with tracks from across their career (including PLENTY from the new album), which was of course interspersed with the usual witty banter, which covered such topics as Australian made keyboards, cricket (numerous times), dead celebrities, and the Olympic Games. Not necessarily in that order. And concluded with an extended jam involving plenty of audience participation...

The final (well, major) gig for the year? One I had fucking high expectations for, given that in July, Sydney post-rocking godchildren sleepmakeswaves had delivered a magnificent set from the soon-to-be-non-operational stage at the East Brunswick Club. The announcement of another date in December later in the year saw me marking the date IMMEDIATELY on my mental calendar. Due to some other things happening earlier in the evening, Meniscus were the only other support band I managed to see, but my god were they impressive, resulting in me immediately purchasing their War of Currents album. And then we made our way to the front, took our seats on the floor (yes) and braced ourselves for... a setlist identical to the aforementioned East Brunswick show? Though it has to be said that the band did deliver a brilliant show again, the fact that they didn't go out of their way to mix it up even a little bit was slightly disappointing, and meant the show just wasn't as awesome as the previous. Nonetheless, this band DID release an album that I enjoyed the shit out of in 2011 (hell, I still am!) and it was a great show regardless. And hey, it was our first live introduction to the band's new drummer, Tim Adderley! So that was nice.

2011, 2011, 2011. It brought many highlights, musical and otherwise. Live music this year, oh we had a belter. Too many great acts doing amazing things to possibly mention here... and yet, in the coming weeks, I will have to mention them. That's right, my end of year top 10 gigs are beginning to take shape, mentally at least, and hopefully will be posted in completed form before the month's end. And what was I doing when I wasn't at a gig? Listening to music, of course! Though I must say I didn't really keep up with new music last year as much as I usually do, obviously my (not-so-) hard-earned cash was often spent on CDs, and quite often, some of those were new! So yes, there WILL be, as always, a top 10 countdown of 2011's best albums according to yours truly. It will probably be posted quite soon, as I've had quite a good think about it and I've got a clear idea of where most things are going to land (or not land, as the case may be).

OH! One thing I do want to mention about 2011 is my introduction to the wonderful world of bootleg recording. For those who aren't aware, in late 2010 year my friend Chris Jacques, the founder of the wonderful Fan Made Recordings blog invited me to join the team, GIVING me his old recording equipment after he purchased some new stuff. Though the microphones were a little bit dead, I got a few good uses out of them before a new pair arrived in about April, and then the real fun began! Though quite often my err, state of inebriation lead to obnoxious conversations and RIDICULOUS singing, rendering some (quite a lot, really!) of the recordings unpostable, there were plenty more gigs where I managed to keep myself under control and it lead to some truly amazing gigs being captured for my own personal enjoyment AS WELL as sharing them with the wider world. I really can't thank Chris enough!

Anyway. That's about it. Top 10s are coming soon!

"On nights like this, we drink ourselves dry, and make promises with no intent" - Harvest presents The Gathering, 12/11/2011 at Werribee Park

Music fans of Australia went into a bit of a frenzy earlier this year when rumours began of a new festival by the name of Harvest, that was supposedly being organised by AJ Maddah, he of Soundwave fame (and also infamous for the utter debacle that was Soundwave Revolution). Though at that point there was nothing set in stone and nobody was really getting their hopes up, the rumours suggested that artists playing at the festival may include the likes of Portishead, Mogwai, Aphex Twin and The Flaming Lips. But in July, all doubts were erased when the official first announcement hit, and yes, at the top of the lineup were a band coming to Australia for the first time in 14 years, the one and only Portishead - with an impressive array of other internationals including The Flaming Lips, The National, Mogwai, Bright Eyes and many more! Billed as a "Civilised Gathering", Harvest set out from the start to be an alternative to the mainstream festivals in this country, and despite a few teething problems, by most accounts it was a very successful first year for the event!

One of the first bands on the main stage of the event - named "The Great Lawn" - were the irrepressibly funky Hypnotic Brass Ensemble. Last in the country less than twelve months ago for the Meredith Music Festival, this is a band whose name really says it all - eight brothers and another unrelated who play addictive music centred on brass instruments. Though punters were still arriving and settling in, and weren't really ready to make their way right down the front, plenty of festival earlybirds were clearly enjoying the sounds of this Chicago group, as they should with a band who sound this great. The band were doing their best to get the crowd involved too, at one point engaging in that tried-and-true routine of seeing which side of the crowd was the loudest.
(Hypnotic Brass Ensemble score 8/10)

Over on the Windmill Stage, Oxford quartet This Town Needs Guns were treating a respectable-sized crowd to a solid selection of their math-rock/indie numbers, including plenty of favourites from the band's debut album Animals. Many had enjoyed their performances earlier in the year at the Soundwave Festival, and evidently AJ Maddah had, given that he asked them back for Harvest. Since those performances, the band have undergone a bit of a lineup change, with Pennines' Henry Tremain replacing former vocalist/guitarist Stuart Smith, who has left the band due to the birth of his child. Tremain joked that he had been to so many of the band's gigs as a fan, and had to remind himself not to clap after every song. He certainly gave the crowd many reasons to clap, fitting in very well in the band with a similar vocal style to his predecssor and doing the band's older material justice, and also proving himself quite handy on the guitar with a few songs. However, it was bassist Jamie Cooper that took care of most of the crowd interaction, seeming genuinely humbled by the response his band received but definitely appreciative of it. On the surface of it, This Town Needs Guns' music seems a little bit complex what with all that guitar noodling going on, but there's an underlying pop sensibilty to them that the punters really enjoyed on this particular occasion.
(This Town Needs Guns score 9/10)

Back on the Great Lawn, funk was once again the flavour of the afternoon with legendary act The Family Stone taking to the stage and delighting all in attendance. Despite the notable absence of the group's frontman Sly, the current incarnation of the band boasts a surprising amount of original members, something that they were keen to remind us about several times during the set. Even though there were probably a few in the crowd who couldn't put a song to the band name, there were many looks of recognition and possibly even a few exclamations of "OH! THIS SONG!" as the band worked their way through a selection of timeless material such as Everday People and Family Affair. God knows how Maddah managed to book these guys, but it was certainly an amazing performance from a group that showed no signs of their age!
(The Family Stone score 7/10)

It was then time for a band from a bit closer to home, as Sydney-based electronic experimentalists PVT wowed a packed-out tent at the Big Red Tractor Stage. As they got things going with the title track from last year's very successful Church With No Magic album, the crowd came alive, doing their best to pull off some dance moves despite the glitchy and unpredictable nature of PVT's music! After a surprisingly lacklustre performance at the Corner Hotel last year to launch the album, PVT seemed really in their element today. The trio, made up of Richard Pike on just about EVERYHING (guitar, bass, keys and vocals), his brother Laurence on drums (an absolute force to behold), and Dave Miller on laptop, synths and whatever other electronic gadgets took his fancy, really delivered a standout performance on the day. A selection of Church With No Magic favourites were interspersed with a pair of brand new songs, and even some from their second album O Soundtrack My Heart for the diehard (Pivot?) fans in the audience, with the appropriately-named Didn't I Furious sounding absolutely massive as delivered through a festival sound system, and O Soundtrack My Heart chilling things out a bit toward the end of the set. The crowd's enthusiasm didn't fall at all during the intense 45-minute set by the band; again, perhaps it was the sound system in the tent, perhaps it was the "festival atmosphere", but things just seemed to really go PVT's way on this occasion.
(PVT score 9/10)

It was back to the Great Lawn for the inimitable TV on the Radio. They have long been regarded by many as a band that performs at their absolute best every time, whether it be in the studio while making their excellent albums, or on a live stage as they were today. A highly anticipated act for many on the day, they showcased plenty of new material from their latest release Nine Types of Light as well as dipping into their much-loved back catalogue for fan favourite such as Red Dress, Golden Age and Staring at the Sun. The only complaint heard about their set was that the mix was a bit noisy in places, but overall, this band have a pretty high reputation to uphold when it comes to delivering a good show, and on this occasion, they managed to do so with great success. The set concluded with their arguable "signature song" Wolf Like Me, and although the audience had obviously already been enjoying themselves up until that point, that particular song as a closer really drove it home!
(TV on the Radio score 8.5/10)

The Great Lawn was rapidly filling up at this point, understandable due to the exceptional talent of the acts to come, and to prove the point, it was Conor Oberst and his highly-praised Bright Eyes that were next up on the stage. With such a vast discography, it was always going to be interesting to see how they'd fare with the hour set they were given, but they certainly managed to cover most facets of their career, from 2000's Fevers and Mirrors to their latest release, The People's Key. Oberst showed the crowd he was no slouch on stage, as he switched between guitar and keyboards with great ease, and looked to be having the time of his life the whole set. He even delivered a couple of songs by himself on just acoustic guitar and vocals, which was a nice way of balancing out the set when juxtaposed with the full-band Bright Eyes tracks.
(Bright Eyes score 8/10)
SETLIST:
Old Soul Song (For the New World Order)
Four Winds
Arc of Time (Time Code)
Lover I Don't Have to Love
Jejune Stars
Lua
The Calendar Hung Itself...
Shell Games
Another Travellin' Song
I Believe in Symmetry
Road to Joy

A little later on the Windmill Stage, Scottish post-rock heroes Mogwai drew a full crowd to witness their impressive combination of extreme dynamics, melody and at times, pure fucking noise! Again, an hour set was probably a little short for a band who have been around for quite a while, and who are known for often making some pretty lengthy songs. However, they managed to please all in attendance, balancing out material from this year's brilliantly-titled Hardcore Will Never Die, But You Will with a decent selection of past material, even including rarity Ithica 27 Ø 9 from the Ten Rapid compilation. With the aid of a white sheet hung from the stage, the set was complemented nicely by a series of visuals, with geometric shapes and city skylines seeming quite appropriate for their music; however, it wasn't completely dark yet which meant that this probably wasn't as effective as it could've been. It's fair to say that a lot of post-rock bands don't seem all that energetic onstage, and play with focus and concentration rather than attempting to put on "a show". Though for the most part, this seemed to fit Mogwai's approach to live performance, on the right-hand side of the stage Stuart Braithwaite was positively animated, jumping around during the heavier moments of the songs, and thanking the audience heartily between songs, all with a big smile on his face. Given that it was getting very close to a certain headlining performance on the Great Lawn stage, people started to drift off toward the end of their set, but those who stayed around were rewarded with the penultimate performance of the classic Mogwai Fear Satan, delivered with all the intensity and sonic fury of the studio version that was released fourteen years ago! Time flies. At its conclusion, once again Braithwaite thanked the audience for sticking around, before they closed with Mexican Grand Prix and the few stragglers headed over to the Great Lawn.
SETLIST
White Noise
Ithica 27 Ø 9
I'm Jim Morrison, I'm Dead
Rano Pano
Auto Rock
How to be a Werewolf
Hunted by a Freak
Mogwai Fear Satan
Mexican Grand Prix

Though nobody would dare to say that the rest of the lineup had been lacking in quality so far, the real talk of this festival was THE headlining act that was apparently the whole reason the festival was launched in the first place. A band with enormous critical acclaim, who only just re-entered the consciousness of the music world a few years ago after taking a full eleven years of silence between the release of their second and third albums. And tonight, for the first time in fourteen years, Australian audiences were treated to a performance that lived up to all expectations. When the lights went down on the main stage and the video screens flickered into life, the usual applause that happens during the beginning of a concert seemed a little subdued, as the crowd held their collective breath for the great moment to come. Static and abstract imagery crawled across the screens for a few seconds, until it was finally replaced with a very familiar symbol - a big bold letter "P". And then, it began. As the musicians involved with this band's live incarnation - the orginal three members, plus three extras to handle various live tasks - made their way onto the stage, a familiar voice reciting a saying in Brazilian-Portuguese came over the PA, and Portishead began their set with the opening track from 2008's Third, Silence.

The second the incomparable Beth Gibbons stepped up to the microphone, the crowd couldn't contain themselves any longer, almost drowning her out with deafening cheers. But they quickly lapsed back into reverential silence, which continue almost throughout the entirety of the set. Appreciation was shown at the right moments - usually at beginning of songs, such as right after Silence when the familiar eerie theremin intro to Mysterons began - but it was amazing to see how just respectful and appreciative the crowd were. If someone dared to break the mood by talking to his or her friend, they were quickly chastised by other people, something you don't often see at a gig! But, this was fucking Portishead, and so such a level of respect was demanded. The band made up for lost time and really didn't fail to deliver a set high on atmosphere and sonic intensity. Of course, the only way the Bristolians could have delivered a setlist to please everybody would be to play everything they've ever recorded, but of course that wasn't possible. So instead, they opted for a healthy selection of crowd favourites, mostly taken from their groundbreaking 1994 album Dummy, and the aforementioned comeback release Third; unfortunately the band's self-titled second album only got two tracks represented in the set, the stunning Over and Cowboys.

As one would expect, the band didn't really stuff around on stage with any theatrics or over-performing, but simply played their parts and let the music do the talking. With that said, there was really no shortage of things to look out, as the band were accompanied by some stunning visual material, in addition to heavily-effected live footage of themselves performing. The imagery used was abstract, surreal, and at times downright intense, such as during Machine Gun when Tony Abbott appeared with bright red laser beams for eyes! Spontaneous appreciative cheering from the crowd showed that they certainly appreciated this "local" flavour for Portishead's appearance. Machine Gun was definitely an overall highlight in a set that really highlighted the sonic difference between today's Portishead and the band who recorded Dummy all those years ago. From the chilled-out ambience of songs like Sour Times and Glory Box (the latter of which saw the crowd break their vow of silence and join in with their best voices), to the jarring intensity of the likes of Magic Doors and Threads, this is a band with quite a dynamic range. Threads was the last song of the main set, but the entire crowd waited patiently for an encore, and it came in the form of the haunting Roads, and an upbeat conclusion with We Carry On. During the song's climax, Gibbons climbed off the stage and ran along the barrier to high-five and embrace the adoring fans. As the song finally ended, it was clear that it was the end of their set completely, and finally, she spoke, thanking everyone for coming and finishing with "We love Australia!", to an appropriate reaction.
SETLIST
Silence
Mysterons
The Rip
Sour Times
Magic Doors
Wandering Star
Machine Gun
Over
Glory Box
Chase the Tear
Cowboys
Threads
----Encore----
Roads
We Carry On

Over on the Windmill Stage, things were about to get downright freaky, as a naked woman appeared on a semi-circular video screen and began spreading her legs. A strategically-placed door began opening sporadically, with members of the upcoming band making their way out one by one, until finally, a giant bubble was inflated and the man inside it launched himself into a rapturous crowd as his bandmates struck up a cover of Black Sabbath's Sweet Leaf - and so began the closing performance of the night, and who else would it be but The Flaming Lips. Pushed for time due to Portishead's insistence on absolute silence on other stages during their set, one got the sense that this wasn't exactly the greatest way to enjoy everything that the Flips could potentially offer, and at the end of a festival day, the energy was dipping considerably. "Come on, come on fuckers!" encouraged Wayne Coyne (who it must be mentioned, had a camera on the end of his microphone stand which allowed for some very extreme close-ups!). "I know it's the end of the festival, but by anybody's standards, it's still really fucking early on a Saturday night!" Despite their time restrictions only allowing seven songs to be played, Coyne and his friends still did their best to make sure everyone left on a high note, getting everyone involved with some fanastically fun singalongs to She Don't Use Jelly, The Yeah Yeah Song, Yoshimi Battles the Pink Robots and of course, the closing Do You Realize?? All this was of course accompanied by the usual Flips theatrics, including giant balloons, confetti and streamers floating out into the delighted audience, while onstage, colourful psychedelic visuals played out on the band's trademark video screen, and some extra costumed bodies danced the night away. Overall, it was still quite an enjoyable performance, but definitely not quite the uplifting extravaganza that many were hoping for. Nevertheless, everyone seemed to be smiling as they slowly made their way out of what seemed to be a very successful first edition of Harvest! Here's to next year!
SETLIST:
Sweet Leaf (Black Sabbath cover)
Worm Mountain
She Don't Use Jelly
The Yeah Yeah Yeah Song (With All Your Power)
Is David Bowie Dying?
Yoshimi Battles the Pink Robots, Pt. 1
Do You Realize??

"Roll up, roll up, the circus is in town" - Saltar Hype presents Creepshow Festival, 29/10/2011

In October 2010, Matt Crute and his team at the Saltar Hype booking agency put on a very successful Halloween-themed mini-festival at the Espy. Appropriately dubbed "Creepshow", the night saw a plethora of great local Melbourne acts taking to the three stages at the Espy, with plenty of weird and wonderful costumes present among bands and punters alike. Evidently, the night was a success as Crutey opted to put on another this year, once again with great results!

A standout performance the year before had been instrumental heavy prog trio Anna Salen, or as they had dubbed themselves for the evening, the "Super Anna Salen Brothers". This was due to their Super Mario-themed choice of costumes - guitarist/keyboardist Daiv Morgan was Mario, drummer Shaun Scott was Wario, and bassist/keyboardist Paul Risso was Luigi. But they didn't stop at the costumes - "question mark" boxes were placed on top of amps, coin and pipe sound effects were loaded into Scott's triggers and appeared in random places throughout the Anna Salen set, and the band covered the theme music from the games between their own tunes. This year the boys decided to stick to their winning formula, to the delight of those who had witnessed it the year before and to the delighted surprise of those who hadn't! The band have rapidly become one of Melbourne's most-talked about upcoming bands, no doubt helped by their very unique sound and lack of vocals. The band had just supported Sydney powerhouse Floating Me in Geelong and Melbourne the two nights previous, but they weren't showing any signs of fatigue, as they delivered another solid set from the Espy front bar stage. As another sign of just how much the band is on the up, midway through the set Morgan invited "Jason Vorhees" to the stage to play some guest drums, while Scott took up a second guitar. "Jason" was none other than the event organiser, Matt Crute, and he lent his amazing drum skills to the favourite Karate, appropriately dubbed "Karutey" by Morgan for the occasion. At the set's conclusion, Morgan picked up one of the question mark boxes and threw its contents into the audience, which appropriately were chocolate coins!
SETLIST:
Tit Dirt
-Mario Theme-
Communist Rocket
-Mario Theme 2-
Dinner's On
Karutey (with Matt Crute of Full Scale)
Vehicles

In the Gershwin Room, local djent powerhouse Circles were wowing the crowd with their highly complex brand of heavy syncopated riffs, drawing obvious comparisons to the likes of Meshuggah and recent visitors to our shores, Periphery. The band has achieved some international recognition for their sound, and were performing very well on this particular evening - surprisingly, they got a very good mix on the night too, with every subtle sound perfectly audible in the right amounts. A lot of djent bands (again, Periphery) have been known to dabble in the electronica/industrial side of things, and Circles use these sounds even more than their contemporaries, to great effect. However, like a few of these bands, there's something about the vocals that doesn't really seem to fit the rest of the music. Their performance onstage was of a very high quality though.

Melbourne-based supergroup The Khyber Belt were next to take to the front bar stage, with their debut EP being available to the public for the very first time this evening. Their costumes of choice were decidedly un-scary, with the instrumentalists in the band wearing Wiggles skivvys, and vocalist Forbes McKail dressed as Captain Feathersword. As McKail explained, it was only the band's fifth show in total, due to the fact that the band members live in different cities and they find it difficult to jam together. However, at all of those gigs they've seemed quite well-rehearsed and now they've got quite a few solid tunes written, as tonight's set showed. There were a few among the crowd who looked like they had perhaps attended most or all of these shows, as they were singing along in parts to songs that hadn't even really been released yet! The Khyber Belt still have a bit of a way to go before their songwriting craft reaches that of the bands they came from, but there were certainly some gems in this set, and in time, they might just be an adequate replacement to fill the void for all those still missing Rook.

There was jubiliation in the air in late 2009 when it was surprisingly announced that legendary Aussie heavy rockers Full Scale would be having a reunion of sorts, with original members Ezekiel Ox and Matt Crute being joined by Tristan Ross and Ben Brennan, who had been involved with the Full Scale journey at some point. After an incredible reunion gig in January 2010, the band decided to undertake a new chapter under the name Full Scale Revolution, but after a few well-received live shows across the year, by September it was all over once again. Surprisingly, a post on the band's Facebook page a few months back revealed that the band would be giving it one more shot at Creepshow this year, and understandably punters in the front bar went absolutely nuts on the evening to see FULL SCALE REVOLUTION back in action again! The power of nostalgia should never be underestimated, and as Ox, Crutey, Ross and Brennan ripped into Rapture, the crowd began suitably losing their shit, and moshing all over the place! Tonight was likely to be the last time that this incarnation of the band would take to the stage, and the opportunities weren't wasted on either side of the stage/audience divide. The band looked genuinely happy to be playing the songs, with Ox remarking "It always feels good when we bring Full Scale back in whatever form"; meanwhile the crowd were certainly in agreement with this statement, as they bounced around wildly and sang along to just about everything! It was slightly disappointing however that the set was a little bit shorter than those they'd played last year, skipping over some favourites such as Where's Your Energy? and Sixteen Today, and completely ignoring the Full Scale Deflection era. The band did manage to play the only song they'd written together in 2010, High on the Feeling, which despite being a good song in itself, seemed a bit unfamiliar to most punters and lowered the energy of the set considerably. Eventually, things had to come to an end, but the band drove it home with the usual double-shot of Five-Six and Party Political! Five-Six featured a stellar guest appearance from The Khyber Belt's Forbes McKail, who did a very capable job helping Ox out with the vocals, while Party Political saw Ox make his way through the crowd before standing up on the bar! In the end, the crowd had really enjoyed seeing these songs being played again, even if it may be the last time with this particular incarnation of the band.

It's fair to say that the crowd were looking a little worse for wear after that high intensity set, and luckily the next act on the bill were able to bring things down just enough, but not too much! It was of course everyone's favourite ex-Byron Bay foursome, Engine Three Seven, and the front bar was packed to the rafters for another great performance from the lads. It all kicked off with the favourite Hysterical Hysteria, which as usual featured the old "getting down on the ground, jumping up and going nuts" routine. Other than a slightly mixed up order than usual, there wasn't a whole lot of change in the E37 setlist that they've been playing in recent times. However, it was nice to hear Erasure for the third show in a row, which is hopefully a good sign that they've decided to bring it permanently back into the set. Another surprise came when vocalist Casey Dean (who had gone with a Bananaman costume for the evening!) declared that there would be a brand new song played immediately after Cops! The song, titled Velociraptor, showed that Engine have certainly got some quality new ideas up their sleeve and hopefully a new album isn't too far away! Other than that, it was a pretty standard set, but "standard" for Engine Three Seven usually means "excellent", and this was no exception! The crowd were really getting into it too, singing along delightedly with just about everything!

The event finally drew to a close at around 1am, with an act that were no strangers to the people still remaining in the front bar, Jericco. They kicked things off with a great little intro featuring bass player Roy Amar doing his thing on an electric Oud, before the familiar pulsing intro to Rujm (Pile of Stones) kicked in over the PA. The band usually puts this one in toward the end of the set, but as an early opener it set the tone for an absolute cracker! The ever-amazing vocalist Brent McCormick had decided to go with the "bearded lady" theme for the evening, something that brought great amusement to the punters. Even though the timeslot was extremely late, those that were willing to stick it out were treated to a typical high-energy Jericco show, with the band delivering on all fronts as they usually do - and the punters didn't look tired either; there was plenty of moshing and pogoing still going on! The setlist was jam-packed with the usual Jericco favourites, in fact, the band played every single song proper they've released so far with the exception of a few from their first EP. New drummer Matt Bray also seems to be settling into the band well after a few solid gigs, playing along with his bandmates like he'd been there all along! There was a bit of a surprise in the middle of the set, where the other members vacated the stage and McCormick delivered a song by himself with an acoustic guitar. This certainly was the only real "low-energy" point in the set, and even then, he still encouraged everyone to get involved with a bit of a singalong! Eventually the set closed with current single Monsters, which was a top way to end a great night!

The Saltar Hype team have been putting on some really stellar events lately, and though only in its second year, it's fair to say that this time around Creepshow was another rousing success! See you all at Rock the Bay!