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.

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.    

...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