Children Collide
Theory of Everything
Universal

When you think about it, what better location is there than Melbourne for a grunge revival.

Echoing the dirty, clouded-over winters of its northern hemisphere counterpart, Seattle, our city has the beautifully decrepit warehouses of the industrial areas and streets littered with art that thrives on the shifting sands of a city dually torn between trying to modernise and preserve in equal measures.

Into this contemporary vision of the past come Children Collide, a band you can’t quite pigeon-hole with the nu-grunge tag. Sure some of the hallmarks are there — aggression and a dirty, garage mix of punk and rock sensibilities — and if ever a band echoed the unpredictable live presence of Nirvana it is them. But they add something that others of their ilk lack. Firstly they’re not a particularly disillusioned or depressive band and secondly they seem more acutely aware of the pop elements of bands like Sound Garden that their peers tend to ignore. Whether it’s concious or not, frontman Johnny Mackay seems irrepressibly drawn to crafting catchy tunes that just happen to be played aggressively, with a punk-rock backline made up of bass player Heath Crawley and drummer Ryan Caesar.

Tackling the difficult second album with the broad title Theory of Everything, the band ironically manages to give itself a tighter focus. Theory of Everything is not so much an attempt to sum up everything, as it is a testament to the album’s examination of the broad concepts that would entail. The album has a strong emphasis on Mackay’s fascination with the intersecting worlds of science and the supernatural (a customised tarot card comes with each album) as espoused at key points on the last album. Case in point, opening track ‘Future Monks’, which sets the tone for the rest of the album, casts Mackay as a strange hybrid science fiction writer or prophet: “Gather all the future monks, whisper the meeting point / We’re gonna rip holes in the universe.”

It’s a perfect opener, progressing expertly from the first album before leading into the layered high of first single ‘Jellylegs’. Musically, it isn’t all electrifying pace and rhythm, either, with the dour ‘Loveless’ being the strongest example of the band’s ability to break away. Gone are the more twisted jam-ladden ramblings and screams of the band’s early EPs, replaced with a more cohesive, melodic structure. Although Crawley perhaps doesn’t get as much of a chance to stand out as he did on the last album, he adds his distinctive style to the ‘loud, quiet, loud’ aesthetic of ‘Complacency No Vacancy’ and remains a solid presence throughout the rest of the album.

The band has expressed that this album is an attempt to better capture its live presence, and there is certainly a real sense of immediacy here. Theory of Everything may not hold all the answers, but whether you’re after a contemplative examination of the universe, some catchy pop tunes or just something to mosh to, it’s a good place to start.

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Madonna
Royal Derby
August 27, 2010

Once upon a time there was a little rock band called Madonna. They were lucky enough to gain a Friday residency spot at the magical Royal Derby castle. To the villagers’ surprise, Madonna was not the usual evil indie band – out to steal our souls with pretentious bland drivel.

Instead they were knights in shining armour – armed with guitars, synths and giant dick-and-ball posters. But that’s where the fairytale ends, Madonna closer to resembling some grotty, bloodthirsty trolls than the sleek, over-worked stylings of the modern alternative band fairytales.

Madonna clearly put a lot of work into their performance, unlike many of the bands playing round Fitzroy who leave a crowd cold and unengaged with their it’s-so-indie-to-stand-still-and-look-depressed routine. Madonna respond to Melbourne’s inner city hipster vibe with an angry middle finger salute; seamlessly engaging in an overly ecstatic, fun loving and drunken way. It’s obvious that the boys love every minute of performing to a crowd who love them right back. With a large fan base of their own, along with eager walk-ins, songs were received with adoring cheers as many a body danced/threw themselves around the room every night.

For the month of August, Madonna played alongside Wil Wagner and the Smith St band, Chaos Kids and The Resignators. Madonna stole the show each night with their chaotic psychedelic punk ska style. Tracks such as ‘Too Gacked 2 Fuck’, ‘Mingin’ on ya Minge’ and ‘Suicide Tuesday’ are performed in an inspiring, creative and energetic fashion that oozes raw excitement as Madonna throw themselves around the stage.

Front man Anty Horgan’s random screams are magnified by a vocal delay while Craig Selak and Stephen Lavery, on bass and guitar respectively, switch between enthusiastic structured thrashing to getting half naked and causing absolute mayhem. David Beaumont on the kit unleashes a rhythmic fury, holding the mangled pieces of the puzzle together. Yet the most impressive part of the show is the subtle removing of all of their tops amidst the sprawling guitar and random stage dives. Riding on patrons’ shoulders through the crowd, running to the bar and fighting the good fight, Anty holds the room in check whilst Steve, Craig and David lay a foundation for his performance to stand on.

Polite and cheeky, they are the perfect guys to take home to your parents – if they can see past the tatts, piercings and general rowdiness. Violent, sexy, endorphin fuelled and unabashed, like every urge we’re taught to ignore, the buzz about Madonna is definitely getting louder for a reason.

Blue King Brown
Worldwize Part 1: North & South
Lion House Records

As I slipped ‘Northside’ — disc one of Blue King Brown’s ambitious new double album Worldwize — in the player and turned it up, something remarkable happened.

Natalie Pa’apa’a’s impassioned cry, “This music is about life, it’s about the people… And the victories that wait for us,” burst through the speakers and, outside, Melbourne’s fierce winter winds subsided and the clouds retreated slightly to let a few golden rays slip through. To suggest that one event caused the other is absurd, but it was just as well, for this album deserves to be played in the sun.

Worldwize is the Melbourne crew’s epic, two years in the making call to arms, thrust upon a world with “too many hearts not believing”. With track titles like ‘Resist’, ‘The March’, and ‘Our Word Is Our Weapon’, along with an audio sample from Subcomandante Marcos, leader of the revolutionary Zapatista movement in Mexico, their intention is certainly clear.

Thankfully, BKB is a band with a groove to match its conscience. Worldwize is full of infectious tribal beats, fiery horns and soulful vocals that make you want to pick up a flaming stick and have your voice heard. You can imagine the album pumping out of huge speakers at a victory dance party as the fires of the old world smoulder in the distance. Lyrically, it can sometimes become a little repetitive but then maybe that’s the point.

The dub heavy second disc, ‘Southside’, provides a gratifying come down from the relentless battle cry of ‘Northside’. Its relaxed rhythms are custom made for sitting back and watching the sunset or, perhaps, the sunrise.

Sometimes a band’s attempt to use an album as a platform for a message can get in the way of the music, but there’s none of that here. Take from it what you will, maybe it’ll inspire you to change the world, or maybe you’ll just have a good boogie.

Nouvelle Vague & Berry
Prince Bandroom
June 24, 2010

With So Frenchy, So Chic at the helm we knew we were in for something special this particular Thursday evening at Prince Bandroom.

For three hours we were wisped away to Paris, funnelling our way through the indie Marais area with relative newcomer Berry, before strutting through the Moulin Rouge-inspired Pigalle district alongside renowned troubadours of 80s reinvention, Nouvelle Vague.

The enigmatic Berry was first to the stage, oozing understated Parisian chic, dressed head-to-toe in black. Making waves in Europe with her debut album Mademoiselle, the petite chanteuse brought nothing more to Melbourne than herself, two colorful guitarists and her soft, breathy voice. And yet, that was all that was needed. Subtle beauty permeated through the stories she told.

Smiling and swaying, eyes closed, she began with the ‘Demain’. But it was the melancholy ‘Le Bonheur’, which she introduced in broken English as a song about those who have died, that first evoked emotion from the crowd. Shifting pace slightly, she launched into her more upbeat French-pop song, ‘Cheri’. The crowd were tapping their feet and developing a crush on Berry, and by the time she treated us to the title track from Mademoiselle, our ‘Love Affair’ with her (and that very song – the only with English lyrics) was well and truly cemented. With her constant smile and enchanting voice, it’s fair to say that there was a definite je ne sais quoi about this so frenchy, so chic femme that stood before us.

It was time to change gears as Nouvelle Vague took to the stage with their trademark cow bells and tambourines, and plenty of wolf whistles from the crowd. The quirky cover band demanded our full attention the minute they walked on stage, and despite the Marc Collin and Olivier Libaux being the masterminds behind the band, the femme fatale lead singers headed the charge. French maid inspired dresses, fishnet stockings, and Chanel cat ears in tow, Phoebe Killdeer and Mareva Galanter lead us into a country rendition of Depeche Mode’s ‘Master and Servant’ — complete with sultry dance moves — a vibrant version of Plastic Bertrand’s ‘Ca Plane Pour Moi’ and then slowed the tempo with XTC’s ‘Making Plans for Nigel’.

Knowing some of the originals is part of the fun, but it isn’t essential for you to be able to appreciate Nouvelle Vague. The kooky performance — including roaming the stage and the floor while attacking kazoos — was eaten up by the crowd, which peaked when ‘Too Drunk Too Fuck’ was delivered. During a call and response, they shouted the word ‘fuck’ so loud it was surely heard in Paris. We were well and truly seduced.

Nearing the end, the crowd was treated to another Depeche Mode classic ‘Just Can’t Get Enough’, which was so heavy on samba and percussion solos that the vibrations sent the crowd into a frenzy, leaving that wonderful buzz you feel through to your core. They followed up with a jazzy version of the Violent Femme’s ‘Blister in the Sun’, then closed the memorable evening with Joy Divisions’ ‘Love Will Tear Us’ — Galanter drew the crowd in with her lullaby-like manner, overriding the heartbreaking emotion of the song.

That quick trip to the City of Lights ended as we walked back onto Fitzroy Street, where we were reminded that we had been entertained by the crème de la crème of new wave French music in our very own city.

The Wagons
Corner Hotel
June 5, 2010

It’s always great watching a band relax in front of a hometown crowd at the end of a tough slog on the road. The sense of comfort and relief is unmistakable and makes for a genuinely warm, enjoyable performance.

And so it was as the Wagons rolled into Melbourne for the last show of a long national tour, waving goodbye to the Tarago and hello to the studio. Frontman Henry Wagons, sipping from a hefty glass of red, was beaming onstage. The lively showman, whose rad little beard couldn’t hide his constant smile, promised a party and wholeheartedly delivered.

It was a tight set consisting mostly of tracks from the most recent album, The Rise and Fall of Goodtown. The band opened with ‘The Gambler’, and kept up the energy early with ‘Drive till Dawn’ and ‘Love Me Like I Love You’. After touring the material for more than a year it was well and truly polished and the group played wonderfully together.

Wagons is undoubtedly at his best when he’s able to jump around and let loose, and his deep, husky voice lends itself especially to grimy country riffs and jocular lyrics. So the show did lull a little during ‘Alone With Me’ – a kinda cheesy attempt at something slow and sentimental – and veered somewhere else completely when bassist/drummer Si the Philanthropist took to the mic to rap, which was so out of place that I couldn’t help but giggle.

Still, the band never took itself too seriously and was obviously having a ball on stage – easily enough to carry these rare odd moments.

The Corner was also treated to a taste of the new album. This particular track, ‘I Blew it’, was written while the band was touring with US alt-country sensation Justin Townes Earle, and it showed. The bottom-of-the-bottle ditty about lost love had a knee-slappin’ tempo and sounded a little twangier than the rocky Wagons of old, but the crowd enjoyed it. A sign of good things to come.

Covers of Elvis’ ‘Never Been to Spain’ and, later, The Wayfaring Strangers’ ‘Willie Nelson’ won the loudest responses of the night. “We just want you two sing two fuckin’ words,” roared the frontman during the ode to the 70s country icon, and the rowdy audience was all too happy to oblige.

The band finished the body of the performance with another singalong fave, the cheery ‘Goodtown’, before briefly disappearing offstage.

Wagons kicked off the encore sans band, with a spotlit, acoustic ditty about his home municipality, ‘Waverley’; the audience shared a good ol’ chuckle over local references to knives at the train station and mischief in Jells Park. The band returned for the much gloomier ‘Pamela May’, which took the mood down a notch, but powered home with the spirited ‘Jail, It’s Hell’. Wagons ran around collecting every mic he could find, yelling madly into them, as the band belted out their final big sounds.

A fitting, high energy finish to a show that should tide over Melbourne until the band emerges from the studio.

Lisa Mitchell
Forum Theatre
May 28, 2010

The name ‘Lisa Mitchell’ once conjured thoughts of an exceptionally shy 16 year-old, who first appeared on Australian Idol all those years ago. But she’s since shaken that wannabe-pop-idol label and has made a name for herself as a successful independent artist — one who was recently able to draw a sell out crowd at the Forum in Melbourne.

Being quite fond of Mitchell’s debut album, Wonder, but never having seen her perform live, I went in with minimal expectations. Sadly, they weren’t exceeded.

At first — as Mitchell opened with her hit ‘Coin Laundry’ — I was impressed at her ability to capture live the polished studio sound. Unfortunately, that’s about as good as it got.

There is no doubt that Mitchell can sing and pen a catchy tune, she just lacks showmanship. She barely spoke to the audience, and when she did it was difficult to hear what she was saying. Performers need to shine on a stage as large as the Forum’s, but the shy songstress and her band were almost lost in the expanse. She would be much better suited to smaller, more intimate venues.

Front-stage, the atmosphere also suffered as punters were crammed in too tightly; for the first time, I struggled to find a spot at the Forum where I could catch a glimpse at what was going on onstage. Forum staff sparked distracting argument with the crowd, as security forced people back and forth when there was nowhere else to stand with any kind of view.

As a result, the audience was uncomfortable and didn’t engage with the performance. It felt more like a pub gig, where the band just plays in the background — the crowd continued to chat as Mitchell sang.

That said, radio hits such as sing-a-long fave ‘Neapolitan Dreams’ and ‘Clean White Love’ were polished and well-received. For the encore, she performed an acoustic cover of Madonna’s ‘Like a Prayer’ – a duet with Andy Bull — which won the biggest response of the night. They also provided a taste of the energy I’d hoped for.

That was just enough to keep my faith — there is a certain charm to Mitchell that makes me unable to dislike her. As a performer who is still finding her feet live, I hope she is just beginning to show us what she is capable of. Give her some time, and a more suitable venue, and great things could happen.

The Mountain Goats
Corner Hotel
April 14, 2010

L
“Hail Satan!”

The very first time I heard the Mountain Goats’ ‘This Year’ I was in the middle of one of those years where everything keeps piling up, and I quickly became a fan. Like a shepherd for misfits, frontman John Darnielle herds us disgruntled folk together by singing out the unspoken kinship between people caught in the rain, heavy traffic or stuck at an airport with delayed flights; airing our frustration, dread and bitterness and mixing them up with a dry, sardonic twist.

The Mountain Goats show at the Corner Hotel sold out weeks prior, probably by the same fans who were disappointed by Darnielle’s sudden cancellation of a 2009 tour, which includes your reviewer. Shortly after appearing on stage Darnielle thanked the crowd profusely, confessing that his first ever gig in Melbourne was played to an audience of twenty.

The audience tonight, whilst numbering plenty more than twenty, was a motley crew of dudes with bad hair cuts. Actually I was amazed at how many guys were in attendance — and not “emo” guys, but the sort of blokes who read Zoo magazine unashamedly in the news agency. I joked with my friend that perhaps we were at the wrong gig and the “Mantel Ghats” were going to come onstage instead.

All of this was a delightful contrast to the nerdy, bespectacled Darnielle who, tall and thin, ambled on the stage with the grace of a giraffe (I really wanted to say Mountain Goat). Yet his band, like his audience, was consistently diverse. The drummer looked like an extra from Bold and the Beautiful and appeared to sing every drum beat, his lips clearly mouthing “bam, bam, bam…” Only the rhythm guitarist was on par with the kind of hipster-dom I have come to expect from American indie bands, with his pink shirt, pink jeans and delicate quiff of blond curls.

Darnielle is known not to play crowd favourites, yet we still eagerly shouted our requests to him. You could see him scowl as he joked back that he couldn’t play ‘Golden Boy’ at the start because he had nothing to follow it with. Still, it didn’t take him long to whip out a personal favourite; with the first few chords of ‘Cotton’ I was singing with the rest of them. Darnielle seemed so ecstatic every time the crowd cheered, as if he was still surprised that anyone knew his songs.

As the set flowed on the songs varied from the well known to the obscure. With ‘This Year’ the room shouted passionately, “I’m going to make it through this year if it kills me.” Even during the quieter ballads the crowd’s enthusiasm never dipped — it actually became more intense as each little prologue was usually a major bummer. One song was introduced as “a song about harming your self and how practicing the dark arts can open the portal to hell…” Another song was about “huffing cans of spray paint until you vomit”. It’s pretty grim stuff, but the clean guitar strumming, complimented by the simple methodical drumming and a twangy, nasal voice, some how brightens it up, and us with it.

A lot has been said of the academic element to the Mountain Goats. Darnielle’s lyrics are complex and poetic; they read as well as they sound and as a result he has been hailed a modern day Leonard Cohen. Darnielle is the one constant against a background of changing musicians throughout the band’s two decades, during which the Mountain Goats have released 16 studio albums and numerous split albums, singles and compilations.

I’d like to have known every song he sang, or to be able to break down the significance of the “going to” series or the “alpha” series (check out the band’s Wikipedia entry if you want to geek it up). But personally I really just like their sound and when you’re at a gig that’s the most important bit. Judging by the reaction from the crowd, they were doing a great job.

Two hours and two encores later they came to their final song, ‘The Best Ever Heavy Metal Band from Denver’, which had the whole room singing and punching their sign of the horns into the air. Finally the crowd dispersed to their varying places of origin and I was touched that someone like Darnielle existed to bring this random bunch together. Where else could I chant “Hail Satan” sandwiched between a man clad in leather and a boy so pretty and elfin that I had to hear him yell to know he was in fact male.

The Vasco Era
Corner Hotel
April 10, 2010

The Vasco Era’s sophomore album Lucille might sound a little more refined than their debut, but fans can rest assured that the trio from Apollo Bay is still playing the same explosive shows that punters know and love.

At the album launch at the Corner Hotel, opening bands Big Scary and Simon Carter (formerly of The Cops) played solid sets, but as the red curtains closed around the stage and the eager audience edged closer, it was clear who the crowd had gathered for.

After waiting what felt like an eternity for the Vascos to emerge, Sid and Ted O’Neil (vocals and bass, respectively) and Michael Fitzgerald (aka Fitzy; drums) exploded onto stage with a cover of the Beatles’ ‘Why Don’t We Do It In The Road’.

The band had plenty of home town support. Towards the beginning of the set, Sid thanked “half of Apollo Bay for turning up here tonight and making it look like we’re popular.” But a sold out crowd, who sang and danced the night away, suggested that the band’s fan base stretches well beyond the surf coast.

The set was a mix of old and new songs, with a few covers thrown in for good measure. But it was obvious that the band was eager to show off Lucille. Although the power and raw noise of the Vasco Era’s debut, Oh We Do Like To Be Beside the Seaside (2006), is still evident, Lucille feels more structured, and shows the band has grown lyrically.

The concept album tells the story of the relationship between Lucille, a stripper, and Sam, her somewhat more conservative boyfriend – influenced by a real couple Sid met one night at Crown Casino. Performing a concept album live, as a collection of standalone songs, can be risky, and I had my reservations prior to Saturday night’s performance. But my fears were unfounded — live, Lucille blew me away.

‘They’ve Already Won’, ‘Not Stuck Here’ and the title track were standouts. Sid’s vocals were as impressive as ever — he still knows how to scream — but the addition of keyboards (played throughout the tour by one half of Big Scary) and backing vocals (performed by Ted and, during one song, Fitzy, from behind the drums) were excellent additions to the Vasco’s live show that I have not seen before.

Highlights from OWDLTBBTS, which has always sounded best live, included ‘When You Went’ and ‘When It First Showed Up’ (intertwined live with ‘Happiness Is A Warm Gun’ – another Beatles cover). The singalong power of the crowd showed how many long-term fans were present.

I left the Corner with a feeling of pure joy. The old songs were as noisy and in-your-face as ever; the new songs were a pleasant surprise; and the covers they chose to perform – also including ‘I Know It’s Over’ by The Smiths – demonstrated their versatility.

For me, one of the highlights of the night was the song ‘Oh Sam’ – full of emotion, angst and Bruce Springsteen references, this song is made for radio, and one of my favourite Vasco Era songs ever. The best thing, though, was that the band seemed to so enjoy what they were doing. They threw themselves around the stage – Fitzy’s drum kit had to be put back together towards the end of the set – and, constantly smiling, it was clear that they were truly in their element.

As the band walked off stage to ‘Honey Bee’, leaving the crowd wanting more, I could only hope that The Vasco Era would return to Melbourne soon. Definitely a band not to be missed.

Circus Trick Tease
Trades Hall – Old Council
March 25 – April 18, 2010

Ladies and gentlemen, boys and girls, welcome to Circus Trick Tease; an abnormal trio of acrobatic geniuses.

Between the three of them, the cast has the energy of five toddlers, the strength of a superhero and the flexibility of Gumby. They’ve got body parts that bend in ways they’re not supposed to, they can sing, and they’ve got themselves into an inter-circus love triangle.

The storyline isn’t so complex. The trio caricatures different types of circus performers; they’re putting on a show, but things aren’t running so smoothly. Their raunchy back stage antics, suggested by naughty shadow play, make Circus Trick Tease a Comedy Festival stand-out.

Robust performer Shannon McGurgan plays a cliché 1920s strong man, complete with a fake moustache, bulging muscles and leopard print leotard. His hilarious ballad, ‘Sensitive New Age Strong-Man’, had the audience in fits of laughter. When he’s not trying to pick up women in the romantic sense, he’s physically lifting them. Each show, four lucky ladies are simultaneously hoisted by this super-human casanova.

The overly-dramatic and incredibly flexible Malia Walsh plays the drunk, attention seeking owner of the circus. We know it’s her circus because she constantly reminds the cast when things aren’t going her way. Not only does she throw a good tantrum, she is a mean, green, back-flipping machine.

Walsh plays the part of a diva superbly, attempting to win the affection of her co-workers and offering herself to whoever suits her at the time. She’s got the hots for the strong man, until she comes across someone she likes better: the exotic, silent type.

When Iranian balancing genius Farhad Ahadi first appears as a silent clown, it is clear he will be is the quiet achiever of the night. He rarely speaks, but his jaw-dropping balancing stunts left the crowd in stunned silence, and won the biggest applause of the night.

Although the acrobatics isn’t flawless, any minor slip-ups are forgotten as the troupe swiftly moves on to the next trick. All three have impressive comic timing, and flexibility, and show it off as best they can through a series of flips, headstands and near-impossible balancing feats that have the audience shaking their heads in disbelief.

The act, which ran for a good 50 minutes, did seem to end quite abruptly. One minute the trio was running amuck — literally throwing each other from one side of the stage to another –and the next, they were standing on each other’s shoulders for the finale, thanking the audience for their time. I felt that there needed to be some kind of closure. One thing was clear though: the wild antics of this slightly twisted trio certainly left the audience wanting more.

Raymond Crowe: Unusualist
Athaneum Theatre
March 27 – April 18, 2010

As one of the more physically remarkable acts in Melbourne’s Comedy Festival, Raymond Crowe gives the audience much more than run of the mill stand up comedy.

You may be familiar with his intricate hand shadow rendition of Louis Armstrong’s What a Wonderful World — a YouTube hit with over one million hits worldwide. The video is brilliant but it’s just a starting point; this man has so much more to offer.

Crowe’s performing style has a backbone of classic and witty humour, but he’s also mischievous and original. You could call him a variety performer. A unique blend of magician, puppeteer, mime and ventriloquist, Crowe uses all his obscure talents to put together a show that is unlike any other.

Dressed to impress in tails and a top hat, Crowe performs timeless magic tricks in entirely new ways. He is a master of multiplying billiard balls, performs levitation with a dancing suit jacket, and does the ‘linking rings’ with hula-hoop sized props. An audience favourite was a postal package that, through skilled ventriloquism, appeared to contain a screaming baby.

Crowe also throws in a live short story about a man on a fishing trip. As daggy as he looks in a fishing vest and floppy hat, he still manages to win the audience over with his ability to use little more than a few props on stage, being highly skilled in the art of mime and visual comedy. It was a charming little segment that won laughs, and a few surprised faces as he made his shoe appear in a tank of water.

The show is very family friendy, attracting crowds of children, grandparents and all ages in between. There is plenty of audience participation is involved, but fear not: if you’re chosen you won’t have to speak much, as Crowe puts his ventriloquism skills to use and answers any questions himself.

Most variety acts don’t have the benefit of having a ‘greatest hit’ in their repertoire. But Crowe’s incredibly well rehearsed What a Wonderful World shadow puppet routine is truly something special to witness. It seems he hasn’t grown tired performing this piece, as it still shows every bit of grace that you would expect if seeing him perform it for the first time.