Live Review: DZ Deathrays, Velociraptor, Horror My Friend

Having missed out on the expansion of The Blurst of Times Festival, Brisbane’s musical monolith DZ Deathrays ensured that Adelaide wouldn’t be left out and did so with an super-charged all ages show at Fowlers Live.

Locals Horror My Friend kicked things off with a dynamic set of ‘90s-inspired grunge and alt-rock without sacrificing any pop sensibilities. The trio opened with a one-two punch of No Energy and current single, Kaleidoscope, from their well-received debut EP, A Million Hands. Whilst almost half the set featured new and unreleased material, the fuzzy chords and angsty lyricism garnered an enthusiastic reception from the growing crowd.

The ever-changing roster of Velociraptor (tonight’s count: seven) wasted no time launching into Riot and Sleep With The Fishes, whilst giving newer tracks from their self-titled LP, RoboCop and Sneakers equal field time. The band’s swinging garage pop was less animated than previous appearances and perhaps a casualty to an unfamiliar format, which also featured DZ Deathrays’ Shane Parsons and Simon Ridley pulling rare double shift duties tonight. However, the ever-charismatic Jeremy Neale ensured the audience was well prepared for Brisbane’s finest.

Opening with No Sleep, DZ Deathrays leaped into early fan favourites and singles from the Bloodstreams LP for the first third of the set. The remainder comprised of their second record, Black Rat. Despite the FOH mixing lacking in vocal clarity, the new LP translated to a live setting brilliantly. The addition of a second guitarist provided further depth and dynamic for a duo whose music has signalled a venture into furiously anthemic territory. Tracks such as Keep Myself On Edge and the album title track, Black Rat, were well received. Gina Works At Hearts closed the set, triggering the all ages crowd into a rapturous frenzy with a hailstorm of shoes and alcohol.  

Those familiar with the Brisbane duo, before and after the Black Rat LP, were rewarded with an overwhelming display of noisy guitar riffs and thunderous rhythm. It would appear as though the DZ Deathrays fan base is one hardly divided by the shift in the duo’s songwriting. Whilst Parsons and Ridley remain faithful to their party-aesthetic roots, the southern state has welcomed the band’s emotional musicality appetite for sonic destruction.