BIGSOUND Live Reviews Part One

BLOODS

Opening up the Electric Playground stage to a packed out crowd is Sydney's Bloods, a trio who are making power pop sound very cool again. They're so much fun even serious industry dudes are uncrossing their arms and cracking a smile, especially when their irresistibly bratty single This Town comes out in the middle of the set. The band confess to being nervous a couple of times during the set, but this just makes them more likeable, and they pull of every song like total pros.

MINING BOOM

Mining Boom are playing at Ric's to a decent crowd that's not close to big enough for how good these guys are. They open with Craigie, an aspirational track that includes the line “One day I'm gonna bash that cunt/ and it won't be pretty/ and it won't be fun”, followed by the desperately mundane Telecom. Part of a new strain of world class suburban Australian music that's getting around at the moment, their scrappy jangle-adjacent sound is defined by great use of almost new-wave keyboard sounds and grizzled Aus rock vocals that hit every note perfectly and at times sound truly beautiful, especially in gorgeous final song PDA.

FEELINGS

There's something about deeply unsexy (not including drummer Dan W. Sweat, still a babe) people making sexy music that will always be appealing, and Feelings play right into that with total confidence and commitment. Singer Berkfinger is out in the middle of the crowd after only a few songs, forcing people to connect with these personal, immediately catchy pop songs about love and sex and… feelings. The only bad thing about Berkfinger getting into the crowd is that it's hard to know where to look; guitarist MC Bad Genius and Dan W. Sweat are both also very watchable performers with loads of energy, so trying to split your attention between the stage and the floor creates a bit of a fractured experience.

BAD//DREEMS

Maybe if there's one word to describe Bad//Dreems show at Ric's it's definitely “soupy”. It is hot as FUCK in here, the moist air clinging right to your skin, and they've turned all the guitars up so loud it's hard to hear anything but a wall of noise. But that's ok, the band aren't really going for subtlety here tonight, their tracks sounding a lot more thrashy and hardcore than you would expect from the downbeat rock of their records. Slower paced single Too Old sounds kind of weird squashed between heavy rock songs, and it's hard to get a handle on the mood of the set. Their singles are still their strongest songs, but when they're this strong that doesn't matter much, and everyone's singing along to Caroline by the end.

NEW BRUTALISTS

New Brutalists are a two piece, and as such are the only band seen at Ric's tonight who can feasibly fit on the stage. Singer Claire Price seems very nervous, especially when they have guitar trouble in the first song, but this is endearing more than anything and when she sings her voice is so powerfully arresting it's hard to care about anything else. Their music is sultry, and at time wonders into some great dirty blues territory. They use loops and drum machines as well as guitar, but the highlights definitely come when it's stripped back to just Price's vocal and Sean Francis' expert guitar work, moving together like a perfectly choreographed dance.

Madeleine Laing

PATAPHYSICS

The BIGSOUND fever coursing through the valley's streets has yet to reach the Tempo Hotel when three-piece Pataphysics start their set to kick things off. With a drum machine handling the rump-shaking beat, Pataphysics blend soul, jazz and funk influences, as well as an interesting dynamic of electronic and acoustic  instrumentation, into a smooth cocktail of socially-conscious, chilled out hip hop. 

DUNE RATS

Their stated penchant for leafy greens and general slacker ethos makes tonight's Dune Rats set feel like a Big Lebowski convention. You expect to hear someone to be bumped into in the packed crowd and exclaim "hey, careful, man, there's a beverage here!" However, there's no dischord here; the vintage pop melodies driving the band's surf rock really ties the room together. Sounding like The Ramones at their catchiest, Dune Rats show why they're one of Brisbane's hottest prospects when they have everyone in the front of house blitzkrieg bopping along for the duration of their set.

COSMO'S MIDNIGHT

Electronic duo Cosmo's Midnight take over the Rev and start to pump out tunes. Their mix sounds like the perfect dance party for a school night; there's an emphasis on textures instead of the unmitigated bass 'n' skronk of lots of modern electronic music. Consequently, the crowd can hear the intricate details lurking inevery new track in the Cosmo's Midnight set.

GAY PARIS

Swampy punk rockers Gay Paris have been generating a fair amount of buzz lately; both with the word-of-mouth following The Last Good Party and the ugly noise emanating from their Marshalls - so they seem like a logical choice to close out the first day of BIGSOUND over at the Alhambra Lounge where the four-piece do not disappoint on either buzz front. With the swagger of sleaze rock and the explosive energy of volatile hardcore powering them they strut and jump across the stage for a set that is wild and over too soon.

Tom Hersey

ARTS MARTIAL

The brief says indie pop, but West Australian four-piece Arts Martial harbour a more aggressive edge than their reputation lets on. While, at its core, their music is sparkly clean jangle rock, it often detours into chunky, distorted, occasionally angular territory, like if Phoenix wrote verses for early Bloc Party. The quartet use their BIGSOUND slot as a prime opportunity to test out some new material, their assured set running the gamut from infectiously danceable to jaw-clenchingly ballsy - and remaining remarkably cohesive through it all.

BUSBY MAROU

A packed, enthusiastic Bakery Lane welcomes the hotly touted Busby Marou to the stage, and the talented group, centred on charismatic vocalist Thomas Busby and inimitable stringsmith Jeremy Marou, reciprocate the energy with a buoyant rendition of the gradually uproarious Underlying Message. Busby's voice soars above sweetly plucked ukulele, gently strummed and deftly picked guitar and brushed drums before Marou takes the spotlight in Something for Me, a driven finger-picking' git down in which the theatrical troubadour plays a shredding guitar solo (with uke in mouth), then uses the diminutive four-string to belt out equally dexterous riffage on the way to the finish line. Indeed, the band's onstage antics and showmanship are a crucial part of making this a consistently engaging performance that effortlessly justifies the critical accolades the band have won to date.

GLASS TOWERS

If disco leanings, Afrobeat touches, and the wonder and woes of youth are the sorts of things that make your musical heart beat, look no further than Sydney-based up-and-comers Glass Towers. The Byron-expat four-piece perform commendably in a polished outing that has no problem getting bodies heaving to and fro. The crowd reflexively reacts early on to the lunges and lifts of the energetic Jumanji and throbs along to the pulse of the urgent In This City, while recent single du jour Halcyon makes a predictable but nonetheless rabidly received appearance late in the piece. Clearly capable at what they do, perhaps the only letdown is that, on their current trajectory and despite their talent, Glass Towers risk being simply absorbed into the existing mass of largely generic but dancy Australian indie rock.

THE ORBWEAVERS

It's a criminally small turnout for emotive Melbourne three-piece (tonight, anyway) The Orbweavers, which - understandable as it is, given the band's late starting time - is a genuine pity, because their show is something special. Acoustic and slide guitars, ethereal harmonies and intimate vocals are pervasive throughout the performance, with relaxed Mariachi-esque trumpet lines also making repeat appearances. Despite their instrumental minimalism, the core duo of Marita Dyson and Stewart Flanagan ruminate evocatively on personal subjects from their greyhound to their ineffable love for every nook and cranny of their home town - and create deep aural textures that rely as much on space as sound - in songs such as the creeping atmospheric standout, Mary, and gorgeous recent single Ceiling Rose. It's a truly soul-warming display with which to round out the evening.

Mitch Knox

MUSTERED COURAGE

It's to only a few that Mustered Courage play, an early slot from which there's no escape for a young band, fresh from releasing a solid second effort, Powerlines, but not yet seasoned enough to command a place amongst the indie elite. Such things aren't on the band's collective mind however, and they play like no one is watching and all are watching, it makes no nevermind. Nu-grass, yes, but with a healthy nod to the bluegrass of old, along with a ragged (yet stylised) take on rootsy songwriting. They know how to do what it is they're doing, but there's a little something missing from their banjo-flecked tunes, their mandolin-driven grooves that will only come with experience, so a good start to be sure, with more to come, these four are on the right track.

THE AUDREYS

Where before The Audreys waded happily along the more tender shores of 'roots' music (being rewarded handsomely for their efforts), tonight they strip off and step up to face off with whomever is slinging shit, and they win, a prize fighter of a band, deciding vigour is the better path to follow, their guitar scuzz their new watchword, down and dirty, Taasha Coates as sultry as is possible to be as her boys rumble and tear behind her, groaning, droning, jabs and stabs of electricity that feed the emotion they've always had in spades, but now it has balls and an attitude. Not that it was shy and retiring before, but now it'll steal your woman, drain your schooner, pick your pocket and leave you for dead.

MONEY FOR ROPE

Double beats and red hot heat, flailing limbs, arms akimbo when not, guitars raped and pillaged, it'd be a melee if not for the instruments, sweat stains shirts as rock 'n' roll is given new life, a second chance, a revival without anyone actually knowing that it needed resuscitating. They're almost unrecognisable without one of the six being in some sort of plaster cast, but it matters not when two drummers thump and grind in time with whatever the fuck is happening out the front, something you're not sure of but you're damn well sure that you dig it. They veer sharply into Doors territory with alarming regularity, but veer out just as often, enough to have you thinking they're on their own jag, and you'd be right – one of the best bands on the scene right now, make no mistake.

Samuel J. Fell

PATRICK JAMES

Patrick James. Pic by Benny Doyle.

Patrick James and his three-piece band play stellar single All About To Change early in the peace, and the track almost works as a premonition because after this set, things are definitely going to be different for the troubadour – his breakout potential is massive. Whether you're looking at surface value marketability or coming at things from a creative angle, the Sydneysider has it all: handsome charm, stunning pipes, multi-instrumental skills and a knack for warm tunes. Something In The Way We Are maintains the banjo fingerpicking quota, while Kings and Queens played solo on piano lifts everyone in the room. These are songs that you feel like you've known a lifetime, even on your first listen.

THE STARRY FIELD

The Starry Field. Pic by Benny Doyle.

Shifting away from the cute pop that introduced The Starry Field early this year, Mark Myers and his band of buddies deliver a set of cane torching alt. country that practically crackles in the muggy air of Ric's Bar. Paul Kelly would certainly nod his approval. Myers keeps The Middle East vibes burning with storytelling that pulls no punches, while other players on the small stage rip out the stomp when it's called for and pull back during the rawer moments. And just in case you weren't certain the bearded one was a card carrying Queenslander, he's rocking a XXXX muscle shirt. Gold.

ADALITA

Standing alone front and centre in her standard singlet/jeans uniform, a bookish looking Adalita plays us a sad song, He Wrote; however, her voice stays strong and true even when holding the longest of notes. She sings "it's over" and no one wants it to be. Ms Srsen plays off her own guitar backing track for old single Hot Air, but just in case anyone was doubting her rock queen status, she lets out a wailing solo on her polished blue axe to bring the song to its knees. When she finishes with Heavy Cut, one can't help but be gagging for her sophomore release.

JONTI

Jonti. Pic by Benny Doyle.

Working Ableton, an Akai Performance Pad and some weird gizmo with wires and knobs that looks like a miniature piece of NASA technology, Jonti is pulling all sorts of sounds from a variety of machines. He's tight with the finger drumming, and as with Flume last year, it's cool to get upstairs at The Rev and watch the tech wizardry from great heights. His vocals are hit and miss the whole set, but his crazy-professor-who's-just-tried-meth dance moves help you forget his off notes. A violinist gives some sophistication to the future beats, and although it's messy, he still stands as Australia's answer to Flying Lotus.

Benny Doyle

THE LAZYS

Contrary to their name, NSW Central Coast five-piece The Lazys are a pretty lively bunch, and despite the sparsely filled room, the lads, fronted by livewire vocalist Leon Harris, perform with the confidence and swagger of a band playing to thousands.  There's nothing ground-breaking about The Lazys' sound, but they do the classic-rock thing very well, and it's easy to see why they've scored so many top-notch supports in the last couple of years.  Highlights include Show Me and Really Ready For You.

DARREN MIDDLETON

Former Powderfinger guitarist Darren Middleton has moved front and centre for his new project, and although the spectre of his previous band still looms large, Middleton proves to be a competent frontman in his own right. Previewing songs from his soon-to-be-released solo debut album Translations, Middleton is clearly relishing being on stage again after a two-and-a-half-year break and his infectious indie-rock tunes and the first-rate harmonies from his backing band should ensure these songs find an audience.  Treasure in the Dark and Let Go are among his strongest numbers, but it's the off-kilter Storms -  which builds from a repetitive beat to a crescendo of effects and thrashing drums and back again – that's the real climax.

EAGLE & THE WORM

Bakery Lane was almost impossible to get into earlier this evening and although there's a comparatively large amount of room to move now, Eagle & the Worm still draw a respectable crowd. The band's idiosyncratic blend of indie-pop, roots, horns and Jarrad Brown's soaring vocals goes down a treat, with opener Give Me Time, from last year's Strangelove EP, instantly gaining the punters' attention. The band also showcase some impressive new offerings, including Electricity, before pulling out live favourites including Too Young and evergreen set closer All I Know.

Daniel Johnson

LAKYN

Lakyn. Pic by Jann Angara.

Walking into pure silence at the usually jovial Press Club seems a little unfamiliar at this early stage of the evening. But as soon as young Lakyn (skater slash folk rock songwriter slash The Voice baby) plucks those strings and hauntingly howls into the mic, the few crowded around the stage now understand the appropriateness of the silence. He begins with some acoustic, heartbroken type “slow Jams” (add in a boyish cheeky giggle) then swaps to the electric and invites his drummer on for a Frank Ocean 'Forrest Gump' cover, whistling and all.

WILLOW

Sitting by the bar so timidly earlier who would've known that the gorgeous Bianca Sciuto of Willow could channel Winehouse when given a mic in her hand. The band crowds the tiny stage as their jazz and soul vibes also seem contained in the intimate set up; but blended with the deep sexiness of Sciuto's vocals just makes you look forward to catching them in an open air or arena venue.

STONEFIELD

Not surprisingly, The Zoo is one of the queued venues for the evening and the mosh packs in even more for Findlay sisters Stonefield who play a show full of riffs, screeching and hair (but the flower smelling kind, not the whiskey and cigarette smelling ones). Vocalist Amy switches from wails to sweet high melodies while slapping the tambourine while lead Hannah kills her solos creating a Hendrix sound from her travel-sized weapon. The band have a following as few bang, nod and cheer and while, at this stage, their songs seem audibly timed, it's clear that as they continue with this momentum they'll soon be seamlessly jamming out Zeppelin/Doors style.

CITIZEN KAY

Canberra MC Citizen Kay has floor finally at stage front for his high energy set as he jumps around in his tattered vans and bow tie while drummer moves from banging out on the skins and playing their beats from the laptop. 'Yes!' showcases Kay's lyrical ability and as he gets big ups after giving a taste of his speedy flow. They then slow it down for a Cudi type number before reworking Apache keeping the crowd pumped and rowdy.

SPIT SYNDICATE

The crowd was clearly impressed by the CK set with some even discussing how Spit Syndicate could possibly follow but as soon as the pioneering Sydney based duo and DJ Joyride hit the stage, its clear that their established following have specifically come to see them close off their evening. They mention their "love-hate relationship with the valley" but its all love here with hands raised and hi-fives being shared from stage to mosh. A fan approriately gets up on shoulders briefly before professional buzz-killer aka security quickly swoops in. But the party continues through Amazing and Beauty in The Bricks which has even Kay (of Citizen Kane) saying "I know this song!".

Jann Angara

MTNS

Buzz band MTNS kick off Bigsound at Oh Hello!, and their set comprises of the lysergic chilled electronica that is heading the mainstream zeitgeist at the moment. To be fair to the trio, their sound is sumptuous, intricately layered and warm, a cocoon for the headspace. It's a beguiling yet strong performance.

DAVEY LANE

You know what you are going to get when you catch a Davey Lane show – mid tempo rock tunes with amplified pop machinations, all warmth and whimsy. Lane cuts a confident figure out front of his band, and is evidently a mean guitarist. That said, a Davey Lane show also suffers from the association with his “other” band, You Am I, with the songwriting conventions following a distinctly similar path yet clearly shades apart. Solid, then.

KING GIZZARD & THE LIZARD WIZARD

Which King Gizzard & The Lizard Wizard will we get tonight? The seven-headed Melbourne beast has tried their hand at trashy garage rock, spaghetti Western instrumentals and chants about footy. Today the band is distinctly psychedelic, and the result is typically electrifying. The first incredibly elongated track has more than a passing resemblance to Thee Oh Sees at their most spun out. A weird country song in the middle of the set sounds like Devendra Banhart in the wasted South, whilst latest single 30 Past 7 is a Spiritualised fuzz beast. Closing out with another psych jam, the dual drummers flailing, guitars and keys entwined, defying the timekeepers, King Gizzard reaffirm why they are one of the most exciting prospects on the continent.

ROBERT FORSTER

Maybe it is the eclectic nature that the snatch grab live experience of the night brings, but the set from Robert Forster feels slightly pedestrian tonight. He is in a quietly jovial mood and the space of the Black Bear Lodge is conducive to his contemplative ruminations, yet the clientele and lack of intimacy don't allow the songs to gel. A real disappointment, yet as Forster plays on with understated grace, one that doesn't dent the man's reputation.

RAINY DAY WOMEN

Effervescent Perth quintet Rainy Day Women is a buoyant way to close down Coniston Lane for the evening. Riding high on the success of their Friends EP, the band whisk through a bouncy set of pop aphorisms that don't feel onerous or trite. The songwriting walks the tightrope between self-deprecating lyrics and jaunty melody, and largely succeeds to keep the two afloat. Latest single Ain't It Time is a warm highlight.

Brendan Telford

MAMA KIN

The band are tight as hell and Danielle Caruana is a scintillating vocalist; suffice to say, Mama Kin have us off to a running start tonight.  Tracks like Rescue and Red Wood River are classy tunes and the engaging presence of the frontwoman and the way she hits those low notes is pretty damn incredible. Their pal Tommy Spender joins in on sax for their final song Whistle And A Light, adding another element of fun to proceedings.

THE PEEP TEMPEL

Alhambra might be quiet but The Peep Tempel sure as hell aren't - and that's a very good thing. They might not be the youngest or hottest band on the line up, but they're aggressive, proficient, noisy and fucking awesome. Sure, they're mining pretty deeply from Mclusky and Future Of The Left territory, but since when has that been a bad thing? Particularly when they've definitely put their own stamp on it.  Sucked in if you missed them. 

Dan Condon