Live Review: Dreamtime, Multiple Man, Occults, Sara Tone In

Just before they head off to conquer the land of the free/medicinal marijuana, local psych lords Dreamtime are launching their latest piece of wax up at Nambour's own Time Machine, along with a stellar roster of Brisbane supports. First up is the aptly named Sara Tone In who delivers a set of sample-based electronica in the vein of the “producer” trend but it's a tad experimental as well, mixing elements of heavy distortion and some pretty cool sounds into the mix. The crowd is sparse at first, however, by the end it's pumping with people loving every minute.

A last minute but welcome replacement for The Otchkies, Occults couldn't be further from those magic carpet loving freaks as the band bring Bauhaus-like goth with punk overtones to the table and pull it off with style. The set is loud and noticeably proficient technically, as it oozes aggression and personality on this strange yet appropriate billing for the group.

Having just returned from a mini-tour of NSW to launch their latest self-titled tape, Multiple Man are seemingly straight back into the action and it's not without note as the group deliver a blistering set in numerous regards. From the start, Gary Numan's synth is low and insanely thick whilst his twin brother Lee Ranaldo's guitar spends virtually the whole set screeching and occasionally being played behind the nut. The set progresses through the group's recent tape with a new track or two thrown into the mix, the intensity constantly building as strobes blare, fog suffocates and noise floods the room, proving too much for some by the end, but irrespectively awesome in every sense.

By the time Dreamtime take to the stage, the room is packed full of young red-eyed punters ready for a visual and audio assault and that's exactly what they receive, as the set has everything you'd hope for and more. Visually it's simply incomparable, with projections, video cameras, candles, strobes, fog, orbs and even UV lights that reveal coloured paint on the group – notably a Bowie-bolt across bassist Cat Maddin's face. Musically, it has its highs, being technically insane and at times bone-crunching. A few timing and sound issues occasionally crop up, mainly in rhythmic opener Center Of Mind and the more freeform Baphomet, but these are quickly overcome and easily dismissed by the end of the set as things transcend through the prisms of dark and light and really encapsulate a unique take on classic psychedelic sounds. Whilst not their most crisp outing, it's by no means a bad one, and it's no wonder these young local rapscallions have been hand-picked to play the coveted Austin Psych Fest. Good luck guys!