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seven-piece outfit Simone & Girlfunkle showcased some sweet driving pop with Bridget Turner's infectious joy warming the crowd, while at the back keeping to themselves were ... vocals, were a more apt choice for the evening's aim of exploring the sub-conscious, with songs titled Deep Demon Desire and Surreal. Some broody bass from Sandy Jones

which is typically Melbourne: a dark, electronic affair. It picks up as the sub bass does and overall it's not a bad way to open, but not mind ... this band back together playing shows and although the odd issue pops up here and there within their set, it's a privilege to see them on tonight

preference to attempts at shock value a couple of albums ago. The whispery ‘dream pop’ of Sydney’s Fabels is an often curious collision in its origins. Hiske Weijers’ accented ... that was the idea. To further sub-genre this musical world and in contrast to the above, RKDA call themselves ‘industrial dream pop’. This maybe means the balance is more

Amplifier (and perhaps anywhere) to simultaneously drink beer, eat a pulled pork sub, get your hair cut and listen to live rootsy dance music — theoretically at least ... stop dancing of their own. Each of the new singles — the pessimistic baroque pop of Monsters and the protest rap frenzy of That's Life  — were equally well

disco you were listening to". An interesting set of choral standards, gospel hymns and pop arrangements followed. Unfortunately due to a technical issue, only the group's piano accompaniment ... controller set. Starting with some heavily glitched futuristic beats, this quickly morphed into a sub-heavy mix of garage and bass music. By this point in the night, the crowd