Live Review: Atolls, The Demon Parade

In their first gig of the year, chordy quartet The Demon Parade are back purveying their brand of accessible, foot-tapping rock infused with some subtle psych elements. Their set is peppered with theatrical rock'n'roll stylings, notably from frenetic frontman Michael Badger trashing about throughout his solos. Endearingly, the group clearly have different opinions on the optimal performance costume. Badger is decked out in a scruffy suit and tie, while the rest of the band's fashion sense ranges from just-out-of-bed to sexy goth.
With their second EP, New Dream, just out, Atolls begin their launch night with traditional opener, Water off last year's Hair Machine EP. Though sound problems at first silence the mic volume, this is quickly rectified. A mixture of high and earthy tones, frontman Lucas Skinner's amicable slacker vocals subtly plod alongside the song's laidback, garage goodness. Simultaneously evoking a sunny and melancholic mood, the combination of jangly guitar and occasional minor notes are a fresh, ingratiating ease-in to the set.
The first single lifted off New Dream, the blues-laden Dwell Breaker seemed to mark a new direction for the band, moving away from their psych influences and penchant for distortion. The sultrier song is a slow grind with hints of Alabama Shakes' Hold On, and is perhaps more on trend than their earlier work. Though impressing throughout the set, this stripped-back groover really brings Sam Ingles' stylish, frenetic drumming patterns to the fore. The other singles showcased from this EP, Love Forlorn and Jump In, prove a delightful concoction of retro and contemporary lo-fi elements.
Throughout the hands-on performance, Skinner switches guitars as necessary and fiddles with his various effect pedals. But the band's strength lies in their flawless group dynamic, the trio creating a full, textured sound for their relatively small size. Announcing they're finishing up after around seven songs leaves the set feeling cut incredibly short. However the good news is this paves the way for the band's standard lengthy closer, Darkness, a tinglingly moreish exercise in melodious fuzz-pop, and arguably their best offering.
With their impressive songwriting chops and beautifully coherent garage-pop sound, it's a shame to see Atolls so criminally undervalued and perpetually overlooked. Perhaps this has something to do with the lesser focus on guitar music in Melbourne's scene today. Often hard to define but overwhelmingly easy to listen to, let's just hope that the exciting threesome don't become lacklustre or dejected and instead keep plugging the good stuff.