That Amphitheatre is made of gold actually!

My Favourite place in the world Golden Plains is back for the Sixxx!


And here is the fucking amazing lineup


ROKY FUCKING ERICKSON!!!


Bon Iver


Chic feat Nile Rodgers


Bonnie "Prince" Billy


Ariel Pink's Haunted Graffiti 


Low


The Black Lips


Seekae


Roots Manuva


And MORE!!!

Go to http://2012.goldenplains.com.au/ for tix, more info etc

Support the best festival in the world

We will be there  like last year and the year before, so should you!

MONO, No Anchor, Secret Birds The Hifi 05/10/11

Japans best instrumental post rock exports MONO are back on our shores for the first time in two long years. Officially coming here for Melbourne Festival in order to recreate their tenth anniversary Holy Ground show featuring a twenty one piece orchestra. The band are also touring the country as a four piece, boldly impressing audiences all over again with their grand intense emotional performances.

Opening tonight are locals, Secret Birds. Following on from an impressive show supporting Wooden Shjips side project Moon Duo the week before. The band are at the top of their game with the sound working in their favour tonight as the groups psych based instrumentals sound as clear as ever. Definitely leaning to the more experimental side of the music spectrum the group play a solid set despite everyones eagerness for the night's headliner.

Leaning towards the more heavy side, three piece No Anchor take to the stage with a thunderous sound that pushes the Hifi's PA for the duration of the set. An interesting group that features two bass guitars, the dual attack from Donovan Miller and Ian Rogers is worth checking out the band alone as they manipulate feedback and drone based harmonies through an instrument that normally doesn't have said capabilities. The group perform an overall impressive set apart from their closing track which, while not a bad song, dragged on towards the end as the group mockingly tease the end for several minutes causing a large portion of the crowd to become restless. 

The curtain is closed as classical music comes from the venues PA with the venue now full to the brim anticipation for MONO are at an all time high. As the curtain is drawn the four-piece are already at their instruments quietly building the atmosphere as they launch into the ten minute plus epic Ashes in the Snow. The completely mesmerising track showcases why this band have such a devoted legion of followers as guitarists Takaakiro Goto and Yoda weild their instruments with such intensity through the songs peak causing aural bliss.

Goto takes to slide guitar for the short but sweet Follow The Map as bassist Tamaki Kunishi takes to the piano in this track that showcases space and atmosphere as opposed to Ashes focus on intensity and dynamics. Burial At Sea seems to be an appropriate follow up with the clean guitar sound utilising artificial and the venues natural reverb as the sound resonates off the Hifi's walls to the thunderous almost marching drums of Yasunori Takada. The Hymn to the Immortal Wind track showcases a darker side to the band as the atmosphere intensifies to the songs grand conclusion.

An interesting game to be played in the venue tonight is the choice of where to stand. The Hifi's unique amphitheatre like set up offers a number of different perspectives on the bands precise and detailed sound. People at the front, whilst having a better view of the band missed more of the ground moving bass sections and higher frequencies of the guitars. With the best position in the house proving to be on the second tier near the mixing desk, As the band launch into Pure as Snow it's as if that section should be shut off for V.I.P.'s as the brilliant track sounds amazing and worth the ticket price alone. MONO's best asset is their manipulations of dynamics and Pure as Snow displays it better than any other track tonight as the quieter sections leave room for a mouse to be heard amongst the respectful crowd. While the tracks later parts are so intense that cochleas are begging to be crushed under the weight of the bands intense sound. Goto appears to be particularly moved during this track removing his guitar and playing it whilst on the ground in an intense display of a musician who loves the music that he makes whilst being backed by a blinding strobe light show.

The soothing Sabbath off the groups second album One More Step and You Die is a good counter piece from the intensity of Pure as Snow and proves to be a good introduction to the epic Halcyon (Beautiful Days) Debatably one of the groups most popular tracks it is evident why as the band deliver a remarkable rendition of the track with the group playing off of each other and the dynamics once again. On record Halcyon sounds fuller on the Holy Ground live album featuring a 24 piece orchestra as opposed to it's original recording on You are There but as the distortion kicks in orchestra or not the intensity of the sound coming from the Hifi's PA rivals any band that has been through the venue before. The climatic conclusion sees Goto and Yoda playing so fast it wouldn't be a surprise if smoke was coming off of the fretboards of their punished instruments. 

The delay pedals are switched on for the introduction of Moonlight which sees Kunishi return to the piano and Takada taking the synth next to her for the most part of the thirteen minute track. While slightly slower the track finishes with a bang which could have concluded the set quite easily. However the group remain for the mesmerising Everlasting Light. For the most part of the track Takada remains motionless behind his kit just simply sitting there with his hair covering his face as he takes in the atmosphere of the song. Like a calm before a storm, the track suddenly explodes into a sea of beautiful noise that would make contemporaries such as Mogwai blush and cover their ears. As the instruments go silent a cheer goes up that rivals the band at their loudest and with a humble and appreciative bow the band leave the stage smiling with the crowd leaving the Hifi smiling even wider.   

MONO are the true definition of pure, raw emotional talent that in this day and age are a rare breed. The group played most of the night with the venues lighting coming from behind them which never really displayed the musicians faces or identities, which gave the impression that the music is the band not the musicians themselves. With not a word said, Tonights performance was truly one of the best shows Brisbane has seen all year and like an audio tattoo on the crowds memory, tonight's performance wont be forgotten anytime soon. Envy and jealousy from everyone in Brisbane should go out to those lucky enough to have tickets to the bands Melbourne festival show which features a twenty one piece orchestra.

Surrealism Up Late: Akron/Family Gallery of Modern Art 30/09/11

The gallery of Modern Art is full to the brim tonight as NYC genre hoppers Akron/Family take to the stage for the final chapter of the Surrealism Up Late series. The gallery crowd is one of the widest spectrum of people one can imagine with various walks from Aristocrat like art fans from time warped psych fans. While initially a culture shock to the average concert goer tonight is full of promise and has high hopes to be one of the more interesting shows of the year.

Tonights support is something a little different. Surrealist art and sayings litter the performance area while the rest of the gallery is full of works from the likes of Salvador Dali and rare never before seen pieces of Surrealist art dating back to it's inception in 1919. Black and white silent films consume whole walls displaying the weird and wonderful while other portions of the exhibit show films like David Lynch's Inland Empire in full. A truly unique and spellbinding exhibit that inflames the senses and the mind, A simple must see for any art lover.

Taking to the stage after a short technical delay, Akron/Family are given a warm welcome by the eclectic crowd. Performing as a three piece tonight they start off with a lengthy volume swell with the band exploring a more emotional ambient side. Primary drummer Dana Janssen has taken the guitar for this first section with a reverb pedal turned all the way up as he plays the guitar at times percussively and others like a violin bow with one of his drum sticks. With the band playing a more quiet introductory piece the chatter from the bar and back area takes over the volume of the band as the early beginnings of sound/technical faults begin. A unison dance sees the members of the band form a little house with their arms in a bizarre yet wonderful display of charisma.

Set 'Em Wild, Set 'Em Free's River has instant recognition among the crowd as bassist/lead vocalist Miles Seaton delivers the flowing vocal line over guitarist Seth Olinsky's jangley minimalist guitar line. An all out jam circumnavigates the stage as the group improvise for a solid five minutes. Concluding the track the witty Seaton remarks that the group only have a hour long set tonight. Which if the first two tracks averaging out at ten minutes a piece are to go by we are nearly half way through.

Jumping into latest album S/T II: The Comic Birth and Journey of Shinju TNT  the group show off qualities of a professional therapist as the drum machine driven song is begun with a 'dance' to which Olinsky gets everyone within the venue to raise there arms, close their eyes and then think of being on the beach as a child which bizarrely lead to a hip shaking trucker dance. While an odd introduction to which is even stranger by the nature of the venue the track is delivered beautifully as the groups harmonies really shine through the open space and the soothing guitar lines give off the imagery of the beach and the ocean. Concluding the track the group take to there effects pedals as Janssen takes to a hand held theremin like device with a torch delivering it in a way that gives off a schizophrenic psychedelic feel all the while Olinsky thrashes takes a microphone and delivers a whaling lo-fi noise through a series of effects pedals  which all sprawled out so well together over Seatons more conventional bass line. Then out of nowhere the band link this to the closing section of A AAA O A WAY. 

Despite sound issues provided by a generally horrible mix for such an intricate band Another Sky proves to be the highlight of the night as the frenzied guitar riff dices attention with Janssens fast paced rim shot drum work. All this builds up to the whoa section which sees everyone in the venue clapping in time expelling every particle of oxygen in their lungs during the tracks vocal hook. This continues on for a solid 5-10mins as Olinsky and Seaton jump from the stage to clap and chant through the crowd and almost take a tour of the gallery with one lucky punter being dragged along for the ride. Finally returning to the stage the group launch into a tribal jam which spews off intensity giving the impression that Akron/Family were really born as apart of the Zulu tribe. This launches into Love is Simple chant-along Ed is a Portal which captivates the already enthralled crowd further.

Refusing to let up the band go into the catchy So it Goes the guitar driven track sung by Olinsky with his drawn out accent and slide guitar eclectic guitar work sends the crowd into a place similar to Shinju's album cover. The band then go into Shinju's opener Silly Bears which unfortunately sees more of tonights sound issues come into play as the guitars seem to quiet, the vocals too distorted and the bass consuming everything including the drums. Despite this the band deliver this impressive track in true style which after playing over time by twenty odd minutes closes the set to widespread applause.

On leaving the stage the band try to go behind a curtain only to be surprised with a window, graciously they still go behind the curtain and then take back to the stage for a encore that may have not been on the cards. The building Light Emerges featured clean crisp vocals with Dana Janssen taking to the lead from behind the kit. Maybe the closest track to folk or a ballad that the band have played tonight it is an appropriate closer as elements of african tribal music are mixed with nineties rock and seventies psychedelica. Leaving the stage in the right direction this time the band are once against praise as they leave the stage and talk to fans on their way through the crowd.

A universal feeling of the crowd was tonight was that Akron/Family's show was just out and out fun. A true spectacle as the bands first Brisbane show had a positive yet musically spellbinding atmosphere similar to bands like The Flaming Lips live show. The sound was horrible for the band as the open shape of the concert space really lost a large amount of detail and volume. The mix for a number of tracks was also way off with the bass at times swallowing all the other very loud instruments on stage. All of these issues though we're none of the bands fault with the various band members for a number of times throughout the night kindly asking for changes.

Technical issues aside, This unique gig was truly spectacular with The Poetry of Dreams exhibition acting as a backdrop seemed more natural then bread with butter. Akron/Family's boiling pot of musical genres coupled with their energetic on stage show is simply a sight to be seen and one that will hopefully be back to Brisbane and Australia very very soon.

   Check out the Akron/Family Interview on 4ZZZ next Wednesday on Sagittarius Silver Announcement

Sebadoh, Smudge, Lou Barlow Acoustic The Hifi/Tym Guitars 22/09/11

After months of waiting, Sebadoh are finally back on our shores for the first time in years. The nineties legends are back in support of the reissues of two of their biggest albums Bakesale and Harmacy both of which are scattered over the t-shirts of the attendees tonight in what can only be described as the nineties alternative rock equivalent of Comincon.

A notable distraction sees a large number make a pit stop at Tym Guitars retail shop in the Valley before heading to the HIfi. Sebadoh frontman Lou Barlow too to the guitar shop with his acoustic guitar and played a set of his own solo material and rarities and B-sides from Sebadoh and Dinosaur Jr. The gracious frontman has everyone within the shop charmed as he takes requests and banters throughout the night. Delving into songs he hasn't played in years he occasionally forgets his lyrics as he gently strums his guitar. Playing well over his scheduled time slot noone is upset as the race to get from the valley to the hifi begins.

With most arriving just in time, Australian icons Smudge have crawled out of a hiatus and in a rare run of shows have taken up support duties for Sebadoh for their entire tour. Those unfamiliar with the nineties Australian icons, The branch doesn't fall to far from the tree when making comparisons between Smudge and tonights headliner with frontman Tom Morgan being moody/reclusive as a J Mascis or Lou Barlow. Title track off their '98 album Real McCoy, Wrong Sinatra comes off as an early highlight despite struggling to make it past the minute mark. Despite … seeming as he didn't want to be on stage, the band are tight throughout the night and their sound being clean and crisp even through the parts that sees the fuzz take over. With their own re-issue project in the works heres hoping for a headline Smudge tour soon.

Following Smudge, The curtain is closed as Sebadoh set up their gear. The sounds of Barlow's guitar through the curtain is almost to tempting and anticipation is through the roof. As the curtain is drawn a widespread cheer is let up as Barlow takes to the microphone for semi tender Skull and follows it up with Harmacy's On Fire. While Lou's more tender role as the vocalist seeming as a nearly odd choice for an opener, Rebound picks up the pace as the crowd lap up every chord and long awaited moment.

Taking frontman duties in sections, Barlow ends his turn at the mic on the sludge pop of Magnets Coil and Jason Loewenstein swaps his bass in for guitar as he takes to the microphone. Some playful cynicism from Loewenstein about professionalism is directed at Barlow he tunes his bass.  Bakesale continues to be the flavour of the night as the albums opener License to Confuse's short sharp riffage sends the venue into a frenzy.

Shit Soup sees Loewenstein's monotone voice appear harsher than on record and in comparison to Barlow he is slightly off when it comes to his vocals. The ever impressive Not Too Amused plays on it's loud/quiet dynamics and utilises the almost amphitheatre shape of The Hifi to it's advantage and proves to be one of the more notable highlights of the night as Loewenstein shows enjoyment thrashing through the strings on his guitar.

Drummer Bob D'Amico may take a bit of a backseat in the band to Barlow and Loewensteins prolific roles in the band. He makes his presence known on the stage as he goes from brutalising the drum kit to then giving it tender loving care throughout the night. With Barlow back at the microphone and behind guitar, he pulls off an impressive version of Harmacy's Beauty of the Ride with the tracks pace intensified and the songs lyrical content being bought into a more prominent light.

The band finish with Brand New Love off the bands '92 album Smash Your Head on the Punk Rock and as the band leave the stage following the anthem like track they unfortunately do not return for an encore due to time restrictions but in a way the audience seemed content with what they were given.

With Lou remarking earlier in the night at his solo show, 'I have to sell our t-shirts myself, it's cheaper that way' and like his solo show it feels as if tonights show was a more personal and intimate affair. With everyone in the venue lapping up everything that Sebadoh did it was a positive and happy atmosphere universally throughout the building. Unfortunately this was a rare performance/tour and the only sad news is that we may never see the amazing Sebadoh on our shores again.    

Gareth Liddiard - The Courier Mail Spigeltent 14/09/11

As a part of the annual Brisbane festival, The Courier Mail Spiegeltent has taken up residency within King George Square. The Spiegeltent is an intimate venue with a small stage, string lights spiralling down from the ceiling over the crowd and tables named after famous cities from around the world spiral the outside ring of the tent. It can be intimidating taking a seat in such an atmospheric venue in comparison to bobbing up and down on sticky beer soaked floor, but inhibitions towards the strange environment are almost instantly forgotten as Drones front man Gareth Liddiard is tonight’s entertainment as apart of the nightly 7:00pm show.

With a brief introduction over the PA the humble Gareth Liddiard takes to the stage armed only with his acoustic guitar and a water bottle filled with 'tea'. Playing on his introduction with his trademark wit as he tunes his guitar, Liddiard already has won over the audience before the first note of The Collaborator.

Second track and closest thing to a single off Strange Tourist is Blondin Makes an Omelette. The bittersweet tale of 19th century French tightrope walker Charles Blondin, documenting the stunt of which he took on the high wire sopped and cooked an omelette above Niagara Falls. Liddiard's voice is both delicate and harsh on this track as he goes through the motions of the track as the audience eat out of his hand. 

Explaining the roots behind Highplains Mailman, it seems universal that no one likes receiving Telstra bills as the crowd hang off his every foul mouthed word and try to avoid having their spleen explode from laughter. Liddiard’s ability to tell stories through his lyrics is captivating as the mood and the atmosphere shines through his work and ability to deliver the songs on stage. 

His solo album’s title track and the reason that Liddiard bought his own house, Strange Tourist marks the point where he begins to really use the guitar as he bends his fingers up and down the fret board, giving off the impression that he was a double jointed contortionist in a past life. The driving track leaves the crowd breathless as he sucks the air out of the audience’s lungs while his powerful voice resonates throughout the venue. 

The first Drones track getting an airing tonight is Wait Long by the River rocker Shark Fin Blues, a track that has become a staple and adopted a new personality in Liddiard’s solo set. Liddiard still treats the track as a rocker as he howls into the mic from the back of the stage while he tries to tear his acoustic in half and occasionally letting out a kick of his legs out from his stool.  

Getting back into his solo album, the ten minute Did She Scare All Your Friends Away marks a perfect follower from Shark Fin Blues as Liddiard delves into themes of self worth/doubt amongst others as he croons the line 'I was a beauty in her youth' in a tale of young love. The diminished chord breakdowns almost act as interludes between the extended verses documenting various points in the tale. Finishing the lengthy track with a look to the side and a tilt of his guitar as with every song tonight the crowd let out a well deserved cheer.

Talking about QLD and voicing what we were all thinking about boisterous QLD politician Bob Katter. Liddiard launches into Gala Mill track I Don't Ever Want to Change. A song that seems to be the least appropriate Drones track for an acoustic interpretation. Ever want to Change rattles the Spiegel tent as Liddiard nearly bursts a blood vessel yelling into his microphone during the chorus. His acoustic shows off just much power as an electric as he fingerpicks through the movements of the track.

A lack of banter proceeds as the colonial themed Brisbane track Sixteen Straws sees the audience ahh and aww as the first drop of Brisbane is mentioned. Halfway through the track a disrespectful “woo” is let out by a narrow minded audience member at the mention of Brisbane, causing the crowd to laugh and eventually Liddiard loses his place in the song as he then marvels at the appeal. Still regaining composure and ignoring the local colour, Liddiard pushes on and delivers one of the more heart felt tracks of the night.

A brief banter session follows as Liddiard is forced to defend himself to a drunken patron arguing about an obscure point on QLD whilst on stage. Shrugging it off with a smile, he launches into the final track of the night, Drones classic, Jezebel. Liddiard's voice is both conflicted and powerful as he bellows for the final time all the while managing skills on guitar that very few professionals could manage. On the final line of 'I would love to see you again' Liddiard thanks the crowd and leaves the stage as a virtuoso and unrivalled talent.

A mix of old and young alike adorned the Spiegeltent tonight and banter of amazement is universal outside. Gareth Liddiard is a rare talent and there truly is no one else like him in the world of music. His simple banter ranged from building a pizza oven that could lead him to quitting music through to showing the crowd why he would not win a fight if forced to ski from an attacker is hilarious and it is hard to believe that the serious depth of his lyrical content is being displayed in the same setting, let alone coming from the same person. While at first it felt awkward to be in the seated environment, the intimacy of the performance supersedes that and makes you feel as if you are in Liddiard's living room with respect (generally) coming as a second sense for everyone in the room. A true icon and one that simply has to be seen to be believed.    

Frankly! It's a Pop Festival @ The Turbine Platform (10/09/11)

Frankly! Is back for its third year running and in some ways is a dedication/showcase to adventurous underground LA label, Not Not Fun. Within the Powerhouse tonight, were acrobats, Katie Noonan, a play and even a wedding! Not fitting into the norm in any situation, the musical talent tonight really does shine through with strong glimmers of originality and is in its purest form, a nod to real pop music.

Starting the festival was Japanese experimentalist Ytamo, who performs electronic based pop which draws inspiration from noise, ambient and classic pop and is delivered in a truly unique way. The only problem being that this small little Japanese girl was subject to some of the major problems that Frankly experienced this year. The first being that the sound was so quiet that anyone could hold a comfortable conversation whilst standing next to the PA and the other being the extremely short set lengths. Starting at 6:15, she is rushed off stage by 6:30 and with the style of building upon atmosphere and laying sound does not allow any room for experimentation.

With the majority of attendees sitting on the floor at the front of the stage so everyone could see, it was rather respectful and something that Frankly has brought every year. Japan pop continues with Tokyo based Folktronica artist, Miko. Backed by counterpart Celer, she was very shy on stage and completely inaudible when she addressed the crowd or the constant requests present for more holdback level. Still, her guitar playing did the talking, with loops and processing manipulating the original signal sent to Celer, whom of which reigned supreme over a large mixing desk. The harmonies and sonic width could be heard throughout her set but more notably on tracks like Seahouse, which when coupled with the extreme colours of tonight’s lighting make it an overall enjoyable experience, albeit brief.  

Locals and Not Not Fun label signees Blank Realm took to the stage as the first 'band' of the evening. The four piece were in their regular fine form despite further sound issues as they launder through their mix of Ambient art/kraut rock. Their music is a mix between the traditional method of guitar playing mixed with huge effects and manipulations as tracks like the reverb drenched Full Moon Door proved to be a highlight in a set that rivalled the length of the set up time 

Coming out of Melbourne, The Twerps were a stand out band on this bill with their blend of alternative rock takes elements from fifties diner music, run it though reverb and have just out and out good song writing. Tonight marking their first trip to Brisbane, the four piece played off each other well and provided an appropriate atmosphere for their tunes to flourish on stage. Dance Alone has that typical blues method of a woman running off with another man tale behind its lyrics and was a treat on stage with vocalist Marty providing a slacker like image over a Roy Orbison type of cool. This was another great set that got cut short and the absence and lack of opportunity for this band to showcase a wider display of their talent was a shame with the short sharp burst of tracks such as She Didn't Know unable to fit on a crammed set list. Despite being a more obvious design flaw than a car with no seat belts, the band made it work and proved to be a highlight of the night and hopes for a hastily return visit warranted.

Fellow Melbournian Evelyn Morris aka Pikelet took to the stage next sporting a twerps t-shirt and full band in tow as they launched into her blend of psychedelic pop. While once again another band suffering from technical issues, Pikelet's set felt a little limited and in comparison to the bands earlier on the bill, the group had in some ways played it safe with their song choices and limited amount of improvisation. Evelyn's voice however sounded as wonderful as on record with the long reverb and delay extensions working perfectly underneath pop nuggets such as Weakest Link. 

Iowa's Wet Hair had the stage covered in mixing desks, various synths and effects as they brought their electronic reverb laden tape music show to one of the largest crowds of the night. Shawn Reid's vocals were buried within the mix as on the recordings as his lower register reverb musings acted more as an instrument or a sonic extension within their music and performance. Wet Hair's simple looped synth lines at times got too similar between tracks but their experimentation with effects and noise under and over each songs main line were the real attraction and the duo help bring Frankly back from mediocrity.

One of the big draw cards among the crowd to this year’s festival was Not Not Fun stars LA Vampires and unfortunately their set does not live up to the hype as the group seemed tired and uninspired on stage and once again, sound issues plagued their set. Vocalist Amanda Brown was the only member on stage with any enthusiasm but still fell short in many ways from the magic they deliver on record. The dark atmosphere of the set does work well with the lighting and created a mood, but due to the lack of interest from the crowd and the band, the set winds up being a fairly average affair.

With most of the other functions in the building coming to a close, the sound dramatically increased for Japanese experimentalist Oorutaichi which also led to the best set of the night. With only a few synths and mixing desks on stage Oorutaichi had the crowd captivated to the levels that equalled the whole festival combined as he bounded about the stage and won everyone over with general charm and likeability. His voice was dramatically altered through vocoders and octave pedals and the crowd really just sat back and watched in amazement through the high level of experimentation and all round talent. While having none of the fabled 'real' instruments, the experience feels unique and the overall fun of tracks such as Futurelina proved this Japanese talent is worthy of praise of the likes of Boredoms front man Yamantaka Eye among others. Truly a highlight set and one that should have lasted much longer.

Closing the night is Angel Eyes whom in comparison to Oorutaichi before was rather boring and lifeless as the one man electronic project saw over the half the audience culled off and the other half dull and listless as he got through a set of reverb drenched synth pop reminiscent of John Maus and a voice almost identical to the man. Finishing very awkwardly to one intoxicated patron’s “woo”, it was rather a shame that he was billed so late and could have benefited through an earlier set.

With Frankly this year having nowhere near as many draw cards of years past, ticket sales and the overall quality of the festival suffered due to at times poor organisation and a mundane atmosphere. Most of the bands involved tonight tried their best and while some succeeded, others didn't. With major sound issues throughout the night, it is hard to believe that only last year the ear blistering Fabulous Diamonds and Xiu Xiu played the festival to which it would have been impossible for one to talk comfortably during the set and even clearly hear what was happening at the back of the arena. While giving a platform for these experimental bands that normally would not have one, Frankly needs to sit down and merge the new and exciting elements with what this years festival had and merge them with what made the festival a success in the past.     

...And You Will Know Us By The Trail of Dead @ The Hifi (09/09/11)

The mysticism around …And You Will Know Us By The Trail of Dead's live show is a major drawcard for those new to the band, while for longtime fans it is the chance to relive some of their bigger moments that have littered their Australian performances over the years. Tonight's crowd at the Hifi is a modest one with the mezzanine level being closed off in a rare occurrence for the band and Friday night shows at the Hifi in general.

To The North start the night off with their blend of At the Drive In like punk to a reasonable but still thin crowd. Vocalist Cam has a rather interesting voice which has a thick Australian accent quality to it which projects in between almost spoken word like vocals to strained shouting.

An interesting surprise lies tonight at the merch desk, where the only merch from Trail of Dead were drawings and artwork by frontman Conrad Keely. All of which varied from animals and birds to Seth Rogan as an English duke. All artwork was personally signed and numbered by Conrad as well.

Brisbane band Nikko are a very appropriate support tonight with their blend of Dirty Three/Nick Cave like post-rock sound.

The band were powerful as a unit with each member performing to the extent of their potential from the experimental screeching strings of violin player Adam Cadell to the ferocious attack on the groups drum kit by Blair Westbrook. Moments of atmospheric silence moved into moments of built up tension as the band leave no stone unturned within the venue. Latest single, About The Spirit saw the group develop their sound into a  dark blues version of Pink Floyd's Darkside of the Moon which marked a notable departure to the more straightforward nature of 2010 debut The Warm Side and the new direction is a more than welcome one. Perhaps a little shy on the banter front, Nikko are definitely a band that lets their music and the stage show do the talking.

Arriving on stage to the grandeur of Ode to Isis, …And You Will Know Us By The Trail of Dead enter the arena as kings and they launch into Strange News From Another Planet which pricks ears up throughout the venue. By the time they played their second track Spiral Jetty, drummer Jamie Miller had already broken a number of drum sticks matching the intensity of the rest of the band. During the slightly more relaxed nature of Tao of the Dead track Ebb Away the endless Autry Fubright proves he is the most flexible in the band curving his spine as he leans back with bass in tow almost having his head go back through his legs in a perfect circle.

The sound is faultless throughout the set with the Hifi's acoustics seeming to be a match made in heaven with the post-rock assent/decent of Trail of Deads punk-like tension. Worlds Apart track Will You Smile Again For Me is an intense affair as the tight drumming and guitar work build up with an explosion of sound until it once again calms and allows room to breath with a hint of dark attitude. Jason Reece looks like a monster, as the muscled up guitarist stares down the audience as he thrashes himself around the room drenching himself in sweat (and alcohol) in the process.

The first taste of their critically acclaimed masterpiece Source Tags and Codes is the atmospheric It Was There That I Saw You which lead into the slightly more pop How Near How Far. The band then went back into territory of their debut with Fake Fake Eyes to which Reece announced that it was the first time this track had been played in over five years.

A bizarre hold up occurred with the band allegedly getting a noise complaint, it was then the band jokingly launched into an 'acoustic' version of Another Mornning Stoner which saw a huge spike in the audience and caused the ground to shake from the self proportion of the crowd. A Perfect Teenhood saw Keely take the drum kit and the group constantly rotate with Reece also assuming the role as drummer for Claire De Lune.

After a heat filled set, the band finish with the first track they ever released, the punk infused madness of Richter Scale Madness which is a full on assault on the senses with the band giving it their all for those last few minutes on stage.

Although no encore was played or equipment smashed …And You Will Know Us By The Trail of Dead played an awe inspiring set which left everyone within the Hifi content and talking about the chaos on stage. The wit and personas of all the members of the band were the icing on the cake of this performance and while tonight's energetic set did not sell out and debatably would have been more appropriate if the band were attached to a festival, this performance will be reminisced about like their infamous Livid set

Album Review: Stephen Malkmus and the Jicks - Mirror Traffic

Spunk

Whilst Pavement didn't spawn any new material following their hugely successful reunion, Stephen Malkmus is filling the void on his own with Mirror Traffic, the fifth Stephen Malkmus and the Jicks record to surface. With Mirror Traffic Malkmus has abandoned the progressive like experimentation that was scattered through last release Real Emotional Trash. Instead, this album delves into Crooked Rain territory with an upbeat indie rock ethos coupled with relaxed, spaced out alternative country territory that wouldn't sound out of place on Pavement counterpart, Spiral Stairs solo material. 

Having taken a swift hand in the production of the emotional roller coaster that was Thurston Moore's Demolished Thoughts, Beck has taken the reins as producer for this record. Marking the first collaboration between the two alternative icons the results seem to be a match made in heaven with Malkmus's clever imagery and Beck’s unique approach to music as a whole, forming a highlight album of 2011 if not their careers.

Lead single Senator is the best way to sum up the album as a whole. It first saw light on the road as part of The Real Emotional Trash tour back in 2009. With a sound that recalls more of the Crooked Rain pop moments of Pavement than any past Malkmus/Jicks release. The trade mark smart aleck lyrics of Malkmus are more prominent than ever on this track with Malkmus's lyrics about blow jobs and smoking weed being an almost inside joke. Some irresistible catchy pop hooks and simple up tempo indie pop like guitar lines make the song an instant hit and a very Pavement guitar lick/solo closing the track takes you back to the slacker days of nineties indie rock. 

Second track No one is (As I Are Be), is the first track that his producers hand/influence is present with the instrumentation and the vocal style seeming almost as a nod to Becks body of work with hints of Go-Betweens chill. Horns, acoustic guitar and drums with a slight break beat tinge under Malkmus's unexploritory mellow vocal line all contribute to the tracks power. The tracks video clip also shows Malkmus as an adult with grey hair and clips of his two daughters being projected over him, rather than the summer babe wanting indie rocker having fun back in Pavements hey-day which is noted at the beginning where Malkmus makes the fabled 'forks'. It is appropriate imagery, as the track sounds like some of Malkmus's most mature work to date and if isolated from the rest of the album, would make you think that Malmus has moved forward in a J. Spaceman or Thom Yorke kind of direction.

While only lasting a minute, instrumental song Jumblegloss begins as an identical twin to Shady Lane's outré instrumental J vs.S  it then evolves into a whole new entity and its interpretation could be one of a pick up from that point in Shady Lane all those years ago or the similarities could just be and artistic coincidence. Still a lot can be seen within this minute. 

Stick Figures in Love is definitely the albums strongest point with its prominent guitar hook leading the way into each melody focused section of the track led by some of Malkmus's most thought out lyrics on the album. It's up tempo delivery really sets up a summer based world for the listener to bask in and following track the jilting Spazz  is an excellent progression in the album. The spontanaety of Spazz makes it sound like four different songs all within the first twenty seconds. As Malkmus rhymes rifle with trifle you cant help but be drawn into the charm of this track from the Jack White guitar bridge over some mock chanting, to the overall stop drop and roll method of delivery.

Share the Red is a track that is definitely one of the more melody and space orientated tracks. Being the longest track on the album, it continuously builds whilst having a delicate side to it. The piano playing the songs main riff at the end is one of those moments where you just get a pretty feeling and an overall appreciation of the track. While follower Tune Grief sounds like fellow nineties icons Sebadoh or early effects with effects heavy vocals buried under fast paced rock n roll guitar in a short sharp burst gets its point across

Fall Away seems to derive from Share the Red and No one is with the beautifully sung chorus of the tracks title resonating in your head long after the song is over. The album closes with Gorgeous Georgie, while Fall Away would have been more of a logical choice as a closer. Gorgeous features sounds slightly Wowee Zoweeish with Jicks lyrics as it builds and descends as different guitar lines come from each headphone it all comes together and really draws you in with some of the best guitar work and manipulation on the album. 

Mirror Traffic comes at a perfect time when nineties indie/alt rock is coming back to be a prominent force within the music scene. As history repeats itself, the influx of 80's revivalist bands are starting to become boring and repetitive and slowly but surely guitar based alternative rock is climbing its way back onto its former pedestal and Mirror Traffic acts as a ladder to stand on in that climb. Despite being eclectic at the best of times it is still at heart an indie rock record.

While being the longest Jicks release to date, you will find yourself occasionally skipping over some of the album’s longer or slower tracks. Not because they are bad, more because the short sharp tracks have more of an appeal and provide instant gratification unlike the slower tracks which require a little more concentration and effort but in the end pay off just as much.

For fans of Pavement, Silver Jews or The Jicks, Mirror Traffic may seem a tad on the boring side upon your first listen, but given time it can quite easily work its way up the shelf and stand easily next to some of Malkmus's past works. To people unaware of Pavement or The Jicks the album could also act as a gateway to the world of Malkmus with all the hooks and pop sensibilities having an appeal that could easily cross over fans of some of the bigger name 'alternative' bands dominating the charts and festival circuits.

Here’s hoping for a Jicks tour very, very soon!

Times New Viking, Cobwebbs @ Woodland 26/08/11

The weather resembled something of a dark graphic novel and the streets were bare in comparison to any ordinary Friday night in the Valley. Unfortunately the streets imitated the crowd within Woodland, which was a shame for Ohio's kings of lo-fi, Times New Viking who have made their inaugural trip down to play Australia. Following on a widely successful show in Sydney the night before, hopes were high for a repeat performance in which would be an intimate setting for the band on this occasion.

Starting ten minutes late, the much disorganised Meat Thump launched into their first track without even all their instruments plugged in. To the six or so people watching, the band came across with little respect, with even the keyboardist playing with his back to the crowd. For a band at this level, this is not charismatic or mysterious. The young band constantly had time/sound issues and would have benefited from more rehearsal sessions. A number of their tracks had a lot of interesting ideas behind them and if developed and worked upon, this band may find some success within their field. However, tonight a lot of their set issues just seemed due to laziness. Even their adopted sense of style from the likes of Modest Mouse and Neutral Milk Hotel looked more like it came from 'The Hills Have Eyes'.

The young pubic braiders, Cobwebbs are starting to get quite the following with a number of big shows coming up in the near future. From watching them, it is clear why this is so, with the band being really tight and energetic on stage. Vocalist … is lively across the board as he jumped around the stage, into the crowd and in between verses adopting a mean approach to the harmonica. Cobwebbs, equipped with only two guitars, fill the sound of two bands even with their drummer opting for a minimalist four piece kit with no high hat. Finishing with We Are Not Who We Are these young Brisbanites show a lot of potential. They are deserving of tonight’s support slot and are set to be a feature within the Brisbane rock scene.

The venue had picked up in attendance by the time Times New Viking took to the stage, despite still only filling out to about half capacity. With the drum kit reversed for lefty Jared Phillips, the band from the start demand attention but unfortunately the crowd at first seems a little shy, forming a semi-circle between the band and the stage. This space is soon utilised as the fuzzed out synth of No Time, No Hope from the bands 2009 album, Born Again Revisited made the ears bleed as the upbeat sing-along lured more and more to the front of the stage through its charm. 

Phillips’s drum kit fell apart mid song which in turn, made a good seat for Stephen Malkmus doppelganger, guitarist Adam Elliott. Who in the following track had his own instrument woes when he broke a string mid song causing the band to pull off a rather impressive improvised piece. Elliott pulled off one of the quickest instrument turn arounds ever and joined the group in mid song. Beth Murphy takes lead vocals as the band launch into the slightly calmer track No Room to Live from album Dancer Equired! In between tracks, Phillips bantered with the crowd asking if there were any questions, to which the main question offered by the crowd was 'what time is it’? 

A band like this can really see their lo-fi / shitgaze sounds suffer in the live arena and this has been seen happen to contemporaries Eat Skull, during their performance in Woodland earlier this year. However, Times New Viking seem to generally overcome this, with the walls of distortion and the brutalisation of the drum kit feeling like a slap in the face with a cold wet fish. Teen Drama is as rough around the edges as on record and a joy to see on stage while Move to California also sounds as brash as its VHS recording quality on Born Again Revisited.

By the end of their set Times New Viking had the audience eating out of their hands with the hour of entertainment they provided being a stellar and highlight performance. While the crowd was well under sold, those in attendance can safely say that they got their moneys worth.

Heres an interesting one... Bring The Flaming Lips to 4ZzZ!

An interesting petition has popped up on the internet today...


A team over at Four Triple Zed radio have started a campaign to bring The Flaming Lips! in to help them play their most experimental work Zaireeka in full.


Those who aren't aware of Zaireeka, it requires four different cd players to play each of the four different discs at the same time to hear the album properly! The ultimate anti-radio album!


Good luck to the awesome guys at Zed and help em out to achieve this world first! 


Sign the petition at http://www.petitionbuzz.com/petitions/bringthelipstozed

Wayne at Zed! Could it be!!!

Seekae, The Laurels, Anonymeye @ The Zoo

Earlier in the year Seekae blew the roof off Woodland during their sold out +DOME tour, winning over endless fans and gathering a reputation that has taken them all around the world leaving critical acclaim in their footsteps. Now, back in Australia they are set to delight before once again jet setting off to Europe and Japan as a part of their conquest in becoming the Rolling Stones of experimental electro-pop.

First up tonight is Anonymeye, also known as Andrew Tuttle. He plays experimental country in the utmost sense of the label, with acoustic guitars and banjos being the choice instruments, being run through endless amounts of effects and digital modifications to create a truly unique sound. The crowd may be slightly lacking, but Tuttle’s sound makes him a perfect billing with Seekae. An early highlight of the evening, with Tuttle's unique approach to his instruments making the set an interesting experience. 

On paper it is an odd billing, but The Laurels proved to be an unpredictable highlight of tonight’s affairs. The four piece absolutely killed their set, coming across as a young modern day Sonic Youth mixed with some of the better elements of shoe gaze greats, My Bloody Valentine. The double pronged guitar attack lead by, Piers Cornelius and Luke O'Farrell was a sight to behold, as the effects pedals that covered the most of the stage were pushed to their limits throughout the set. As with Anonymeye earlier, they had a slightly hindered crowd with an odd semi-circle being an unspoken dividing barrier between crowd and band. However, as the night went on the audience crept closer and closer to the stage with appreciation of the raw energy that the band was delivering. While being entertaining to watch, the band were also tight, with chick drummer Kate Wilson being a huge driving force as the fuzzed out noise clicked in perfect sync with her interesting grooves. This show was an example of a band that is going to go far in their career, with tonight’s performance showing that they could have easily headlined. 

MacBooks and mixing desks promptly replace The Laurels guitars and amps, and as the crowd grows, so does their anticipation for Seekae to take to the stage. Seekae’s last visit to Brisbane proved to be one of the highlights of the year as they played in perfect harmony, blowing the roof of Woodland and left the stage as titans of the electronic arena. Unfortunately, this time was far more of a mixed affair as the band struggled with technical issues, lack of synchrony and overall exhaustion from a hard years worth of touring. They play an even set between first album, The Sound of Trees Falling on People and +DOME. Early within their set they failed to sync up with each other and technical issues plague the performance with samples seeming out of place and other instruments being barely audible. An example of where they fell short was Minigus, with samples although being in time, feeling out of place, as well as the ascending synthesiser that made the track being completely inaudible and perhaps, not even present. The track was also played at a slower tempo and you could see frustration in the eyes of the band. They do pick up slightly with following track and crowd pleaser Void, but still fall short in a number of ways. 

When Alex Cameron starts playing a live drum kit the band gain a bit of momentum with the rim-shot clicking Gnor being a bass delight and an unavoidable hip-shaking pleasure. John Hassel abandons the synth for Reset Head as the wall of reverb and chorus resonates through the floor boards as the track progresses. Blood Bank also sees confusion amongst the band and hesitation seems to be universal through the sound desk to the stage. However, the track does eventually fill out and earlier inconsistencies definitely become a thing of the past with the tracks vocal sample, strong beat and gloomy synth take over. 

When the bearded sampler/melodica player George Nicholas announces that the next four songs would be 'hip hop' the set picked up and showed the band working together and enjoying their craft once more. It was within this collection of Sounds of Trees tracks that +DOME's title track proved to be the most intricate and impressive moment of the night with the band really clicking, showcasing this atmospherically ascending track.

With a chant starting up and people hoping for an encore, confusion seems to be universal as some leave the venue and the band then re-emerge for a couple of oldies which prove to be the highlight of the show as the 8-bit glitch Mario punk of Snax, tease and enthral the senses as beeps and bops shoot into every corner of The Zoo. An influx of people storm the front to try and get a glimpse of what the band was doing as the track wraps up. They leave the stage to a content round of applause.

Tonight did not reach the dizzying heights which made their last visit such a success and the higher ticket price seems questionable as production values did not increase and if anything fell short. Seekae’s performance, although not a career highlight, was still an overall positive experience, as the songs the band have behind them are undeniably some of the best work coming out of the country and which on their own are definitely a good enough reason to check the band out in the live arena.

Sorry it's late but... 'Fuck it, lets never come back aka even the bands said they wouldn't' Splendour in the Grass Day 3

Exhaustion seems to be universal amongst attendees on the final day of the festival. For some, interest has flailed with the campgrounds resembling a weevil stricken quilt despite the lures of the festival headliners being present on this final day. Still a festival veteran, I bewilderingly head to the Woodford scout operated BBQ for one last meal as I regain energy and brave the day ahead unbeknownst that it will be one of the most controversial times I have had at a festival.

With a lack of interest to the quality of earlier bands, I head into the festival late afternoon in order to begin the day with a band that has had a hit and miss career, but has consistently satisfied the Australian rock side of my musical entity. The Vines take to the stage to a reasonable sized crowd at the amphitheatre. The band opens with a number of new tracks and throughout the set stick to the theme of their recent releases. Craig Nichols appears to be in good health and spirits as he plays with a sense of appreciation for the crowd. However, moments consistently arise that would have sent an old Craig well over the edge. He and fellow guitarist … have constant problems with their equipment, which in turn leads the band to force banter, play unplanned improvisations and leaves some songs without instruments entirely. Highly Evolved, Animal Machine and Don't Listen to the Radio all go down a treat and get a hot sun drenched crowd going. However they are far from courteous, as exhibited when Craig picks up an acoustic guitar for Autumn Shade for no reason the crowd chants 'bull shit' which is less than classy and rather pathetic in this day and age. However an all round good set (despite controversy, see; Cultural Review)

Making my way from the war torn Vines. I walk with eager anticipation for one of my favourite Australian bands of all time. The Middle East are quite simply the most talented band in Australian music right now and in recent times. They create an amazing atmosphere within their live shows; one of which I saw on their first headline tour where they played an all ages gig at the princess theatre which was nothing short of amazing. So… They open with Black Death 1349 and clearly have drawn one of the more classy crowds of this year’s festival despite a few droppings missing the litter box. The musicianship and sound is amazing and I can’t help but to discuss how amazing and bright their career will be. Then following a hauntingly beautiful version of The Darkest Side the band announce that THIS is their final show. Ever! Heartbroken and distraught I immediately think this an elaborate rouse and that this is some form of hidden camera show. But as Blood begins it is still confusing, for the band seems to be so in sync with each other it seems hard that a band of this talent could ever break up. Mount Morgan literally brings a tear to my eye as the soaring distant melodies are both beautiful and a sign that this is the end of the bands tether. While Months incites positivity through its driving beat and unavoidable melody.

The explanation is given that some of the members are pursuing solo material and that this was never what they wanted the band to be. The most heartbreaking thing about the set was how the band was treated as to when the set concluded. Slightly going overtime, sound engineers were sent into frenzy as they rushed to get the band off the stage. During the band playing their final track amps were disconnected which saw the groups mandolin player hurl his instrument into the air and storm off in frustration. The same is done to a number of other members while some just leave on the pure fact that this isn't how the final moments of the band should have gone. As keyboardist Bree Tranter humbly leaves the stage, only one member is left by himself, playing the same bittersweet over and over again in a display that is so disheartening and horrible yet beautiful at the same time.

The Middle East were a band that should have never broken up. The talent of the group is one that rivals the likes of Nick Cave and The Drones and, given time this group would have reached the same level of fame as these groups. I can only hope they get back together at some point. But I have doubts that this will ever happen.

From the horrific events of the past few hours I make my way back to the amphitheatre for a simple rock show by Kaiser Chiefs. The band has come a long way since their first visit to the country in support of Foo Fighters (to which I was in attendance). Front man Ricky Wilson is like a Mexican jumping bean as he has so much energy sprinting from one side of the stage to the other whilst still managing to keep up his vocals. Ruby and Everyday I Love You Less and Less are instant hits and sound amazing. There is little to no banter in between tracks with songs flowing in and out of each other. During Oh My God the crowd is sent into a frenzy similar to the Passion Pit performance the year before. A simple rock show which calmed the nerves (well mine anyway) from the horrible times earlier in the day.

Do you remember the first time? Is shot up onto a black curtain and instantly you are in for an amazing Pulp show. 'Can you see a dolphin' and then a dolphin appearing are among many awesome taunts displayed on the screen as the band jam/set up behind the curtain. Then as the curtain drops Jarvis Cocker is ready to strut as they launch into Do You Remember The First Time. Cocker is charismatic as ever telling yarns of cutting his hand shaving in between tracks and then pulling out the sexy as he works his audience. Bad Cover Version calms and inspires happiness and confusion amongst douche bags, while Disco 2000 incites universal respect. Cocker’s antics aside, the spectacle on offer here is second to none with high powered lasers shoring off in every direction, fog machines covering the stage and half the crowd. Cocker even jumps into the crowd with a vintage camera to film the crowd to which the results get projected black and white on huge monitors. The way Cocker delivers This is Hardcore is as dark as the lyrics with his adverse imagery literally putting you deep into the dark story that the song sets up. In between banter, Cocker announces that the band will never be coming back to Australia! So yet another band that this year’s splendour has swallowed up and shat out! Still, the show seemed more important at this point as they finish with instantly recognisable hit Common People to widespread applause, during which muscle fucks told me to “fuck off to Cut Copy” so they had room to dance and Jersey Shore ditz's loudly voiced their misguided thoughts that Oasis sung Common People. Even still, an amazing show and once again, the last of its kind.

The crowd is rather patchy on the hill at the moment and anyone could walk to the front of stage as the less of two evils, Coldplay take to the stage. Coldplay do what they do and they can do it rather well with an amazing stage show and instantly recognisable tracks. Their lyrics are far less thought out than the works of Cocker (For example In my place In my place, the lines I couldn't trace. Tears stream down your face, when you lose something that you could not replace. Etc) but it is definitely the live show that is worth watching, with a 3D like tunnel being the stages centrepiece as Martin and co bound about the stage delivering the stadium like level of energy/performance expected. Confetti cannons and fireworks are all present (however they must be over the yellow balloon trick during hit Yellow) and are nice to look at in a going to a movie with a hangover kind of way. Chris Martin gets infuriated with the poor sound and his guitars not working (how many times has this happened so far?) and smashes his guitar, then to prove a point after the tracks conclusion smashes his new one. By the end and with the fact the mix up tent had concluded for the day the crowd seemed to have filled out as the band conclude with Fix You and finish with new track Every Tear Drop Is a Waterfall  to widespread mediocre applause due in part to exhaustion. An all round good set however, and although an inappropriate billing, the band did the please everyone gig alright.

That’s it! Thank Christ it's over in a lot of ways, which after this year could mean over in more ways than one.

Giants of Science, Los Huevos, Ironside - Beetle Bar 13/08/11 (Original)

In these uncertain times we live in, politically, socially, economically etc. aside. Musically, it is a rare phenomenon when we can celebrate the opening of not one but two promising new venues (The Waiting Room, West End and utilising the old Troubadour space, The Black Bear Lodge) and on the same weekend have every other venue in town bursting at the seams with some of the finest local talent. So, with endless choice available as to who is going to provide the following day's hangover, the choice lies firm with The Beetle Bar whom which tonight is hosting the legendary Giants of Science, personal favourites and unmissable talent who are surf ambassadors, Los Huevos and a whole swag of new and old Brisbane live talent.

Kicking off proceedings is newly guised Bat Nouveau. Formerly branded Thirteen Bats, this local three piece do their job description in true style delivering on their experimental goth punk influences. It's a sound that draws from the classics of The Cure and Echo and the Bunnymen and mixes it with lashings of reverb and appropriate imagery through their stage presence and music. The band in some ways have created a sense of diversity on tonight's bill that on paper may sound odd but truly add to the night's atmosphere. Also, you can't go wrong with the use of an omnichord in your band.

The bar is beginning to fill up as a party hat is flung on to my head in honour of three different birthdays being celebrated tonight within the venue. The addition of the colourfully worded balloons is also a treat to be seen.

Their biography reads 'Two guitars and one bass with two drummers; shitting on a rock and howling at the moon' which is pretty much what you get with classic psych rockers, Captain Sledgehammer. The band's sprawling guitar jams with the heavy hitting rhythm section are nothing but rocking and make the band sound far more authentic to their classic rock influences than a lot of contemporaries thrusted into mainstream media through songs about women. They were a very tight outfit who can put on a good show and that is really everything you want from a band. An early highlight that only cements that tonight's bill was a good choice.

Along with Captain Sledgehammer and BMXRAY still to come, Ironside were added to the bill at the last minute due to all gigs being rescheduled as The Step Inn is still undergoing the process of a management change. But from the onset, Ironside prove they were a welcome addition to tonight's bill as they play their blend of hard drunken' rock n' roll and hard drunken' they were, as vocalist Daniel Ironside necked glass after glass of red wine as it was delivered to the stage. Ironside beach balls even came into play which, to be honest was an awesome marketing technique and saw drinks being spilled in an effort to keep the balls alive. Guests were present as friends of the band took up harmonica duties and guest vocals. Looking at Maps proved to be a notable highlight as the band hurled themselves and their instruments around the room during the Queens of Stone Age like track. Between the Sheets also proved to be a highlight with the Black Keys'ish main blues lick being hummed well after the band had finished. With broken glass, spilt alcohol and beach balls scattered around the venue after the bands wake, it was pretty obvious that everyone had a good time during this performance.

With a long illustrious history behind them including supporting MC5, Mudhoney and more recently being hand picked by the Foo Fighters to support them during their flood relief benefit, it is clear whom tonight's headliners are. Giants of Science take to the stage with a boat load of energy and perfect sound. Playing a swagger of new tracks and old classics the band are faultless as Here is the Punishment and Complete This Progression has the whole venue moving and drinking along. Frontman, Ben Salter is one of the hardest working men in Brisbane music, as he also is a prominent force in The Gin Club, The Wilson Pickers and also as a solo musician. Tonight he is on fire as he owns his guitar and engages the crowd as if it's a second nature to eating and drinking. Shots are brought to the stage as fellow guitarist Benjamin Tuite is one of tonight's birthday celebrants as he apparently turns twenty two, although it seems his complexion has suffered over those twenty two long years. Having set out what they came here to do, Giants of Science have impressed all and blown the roof off the Beetle Bar in the process. And, if the new material on show tonight is anything to go by, there will be a lot more pleased audiences in times to come. 

With the witching hour almost upon us, party mode is in full force as BMXRAY take to the stage. The three piece are in fine form as they cover their microphones in spit and their instruments in sweat and alcohol. Their sludged up punk rock is moving as tracks like Swords and Walk Away get the crowd going. The late set is a bit taxing on them though as crowd interest comes and goes throughout their set. Still, when they finish the crowd demands an encore to which the band are much obliged to satisfy. An all round good set despite the late billing proving to be a challenge for some.

Ah, the late night rock n roll show is a time honoured thing that sees some amazing sets pop up for those keen enough to stick around to check them out. Tonight's 1:00am billing of one of the coolest bands in town, Los Huevos rings true to that, as the band are on fire delivering one of the best sets of the night and of recent times. The last time I saw them perform was when they closed the infamous Troubadour back in 2010 and I have been a fan ever since. You have to have a heart of stone to not be able to dance to this band as they provide authentic surf music with tremolo pedals and theremins being pushed to their limits. Being purely instrumental and tackling a very specific genre set can be difficult to a young band but for Los Huevos the music speaks for itself as I left the venue barely being able to walk after numbers like A Gringo Ate My Baby. A truly astounding band that has gone from leaps to bounds in recent times in their career. It is far too hard to critique a band like this where the true essence of them lies within their live show which purely has to be witnessed to be experienced. An amazing band who, at this rate can never faulter and if you fail to witness them when an opportunity is presented then it is purely your loss. WwwwwIpe Out!

It is safe to say that tonight's event was more than a success. Every band on show delivered a fine set and not one person went home disappointed. With gigs like this it proves true that the Brisbane scene is alive and well. With venues opening and RnB clubs turning back into music venues, it seems that this real life game of Stratego for people that love music is being won and with gigs like this I think we just won Russia.

Aunty Meredith... Will You Have My Babies!

Aunty Meredith has done it again!


Meredith sees an amazing line up this year!


Grinderman


Kurt Vile


Mudhoney


Explosions in the Sky


OFF!


Future of the Left


and a fuck load more!!!!


She has even lined up the sun and the moon with a 51min eclipse of the sun happening during Grinderman's set!


I am a Golden Plains man, But this year I will most definitely be crossing over to the dark side....