Cave @ The Zoo

Going to The Zoo on a Wednesday never seems like a particularly appealing experience to me because it’s the middle of the week and difficult to relax, and enjoy a band when you know you’ve got to get up at eight the next morning for work. But with a band as intriguing as krautrock Chicago rockers Cave I had to make an exception. Cave are apart of an increasing trend toward krautrock in neo-psych music, except they’ve been doing it for years now and their sound is a lot less heavy and dense compared to other recent krautrock revival bands. Their latest EP Threace is another step in the direction toward a more seventies progressive rock sound, as opposed to the moodier krautrock styles that defined releases such as Nevertheless from the band. This is the kind of music that is made to be experienced live; it’s like jazz for rock n rollers: intuitive, experimental and a lot of fun. 

Cave’s support includes Brisbane’s limited range of krautrock/prog rock inspired acts, which is basically Ghost Notes and Cobwebbs. Like Cave, Ghost Notes are another instrumental progressive rock inflection, defined by their use of a trumpet that almost acts as the lead singer for the band. They set the mood for the night, which requires everybody relaxes and enjoys the often long-winded instrumental live sets all three bands will approach in different ways that highlight their individual strengths. Their songs are slow burring and majestic, stirring images in my head of grandiosity and notions of otherworldly places.

When Cobwebbs start their set something immediately feels off. A few seconds into their first and only song I realise why: there is no drummer and the band are using a drum machine. Incredibly, the band overcome this immense handicap by playing one song for around forty minutes with the same droning krautrock beat to keep the momentum going. Although their set is bewitching and hypnotic, a wonderful experience in many ways, it is unfortunately not as great as their usual sets, but it is certainly something special: as if we are all privy to one of the band’s intimate jam sessions. The beats provided by the drum machine are like a throbbing pulse that keeps the set and the song alive for an amazing length of time. Distorted grunge vocals are shared between two guitarists, one who is distinctly mellower, the other swooping in at regular intervals with a more commanding singing style. The opposing wavelengths of energy shared between the two is positively dynamic. 

Compared to Cobwebb’s trance-like set, Cave’s set feels more light-hearted, although the throbbing krautrock beats that underlay each song are as consistent and beguiling as Cobwebb’s, obviously much more effective with an actual drummer present. It is immediately obvious that what we are witnessing is true musicianship; musicians who know their instruments inside out, which is why they are able to play so long without losing the audience’s interest or their own vitality. Cave are intoxicating to watch because their energy and zest is so vibrant, it practically reverberates off the stage. Their songs vary between more funky seventies rock defined by a Wah-pedal, to throbbing krautrock characterised by a consistent, droning beat, bluesy guitar riffs and then more psychedelic influenced sounds with the occasional use of a synthesizer. The result is an eclectic combination of sounds and beats that is difficult to pinpoint, but incredibly enjoyable to hear.  

Cave’s set was full of the kind of energy and zest absent from Cobwebb’s set, although you can’t really blame them too much, as the lack of a drummer really deflated their sound. Although Cave were fantastic performers, it was disappointing to hear no material from their earlier releases, ‘Pure Moods’ and ‘Neverendless’. Both albums feature stronger krautrock and psych influences, with ‘Pure Moods’ even having vocals on it. Although ‘Pure Moods’ feels a little like a band finding their identity, ‘Neverendless’ reigns supreme as the best release from these guys, representing a perfect harmony of psychedelia, krautrock and progressive rock. ‘Threace’ feels a bit like a step backward and unfortunately, the band play the EP in its entirety. Nevertheless, I look forward to future releases from Cave and future lives show. ‘Threace’ still demonstrates the band’s strong songwriting abilities, even if the sound is going in a direction I do not find as interesting and as layered as ‘Neverendless’. What their live show highlights, however, is that no matter what song these guys are playing, they play it damn well.

Published by AAA Backstage.

Single Review: Keep On Dancins 'Grey Ghost' Single

Keep On Dancins are one of those bands who have seemingly been around for ages, proved themselves countlessly with stellar EP and album releases, and yet they have never really attained the recognition they deserve as truly original and creative song-writers.

Although dreamy surf-rockers such as Beach House may have a similar sound, there is certainly nobody in Brisbane making this kind of music. I would even go as far to say there are really not many bands in Brisbane with a sound as mature as Keep On Dancins. There are plenty of gritty garage acts and fun indie boppers, but not many bands making music as layered, enticing and serious as Keep On Dancins. 

The band’s new single ‘Grey Ghost’ is possibly the best and most well developed demonstration of Keep On Dancin's robust talent. It certainly hints that the band can take their sound to an even deeper level, which is a significant statement to make considering the consistency in the strength of their songs on their album ‘The End of Everything.’ Grey Ghost extends on everything that is great about Keep On Dancins; it is a powerhouse of a song that builds and builds and doesn’t let you go until its explosive finale.

The key to Keep On Dancins’ power has always been their subtlety, a less-is-better-than-more approach that still evokes powerful emotions in the listener. But Grey Ghost is not like this. Grey Ghost is explosive and enrapturing: it is a song that demands to be heard. Now don’t get me wrong, Grey Ghost is not a loud and in-your-face song. It leads you in, guiding and goading the listener with a throbbing baseline and smooth, velvety vocals. The song begins much like any other Keep On Dancins song, but it takes the listener to a different place. By the time the chorus kicks in Yuri Johnson’s melodious surf guitar has erupted into a chaotic riff as Jacinta Walker hypnotically chants, ‘I saw a ghost,’ a phrase that builds more and more power with repetition. The chorus hints at what is to come, but leaves it only as a suggestion as the song relaxes back into its smooth baseline.

Jacinta’s vocals are powerful, but not overwhelming, whilst the lyrics are poetic without being pretentious, two phrases I could easily use to describe Keep On Dancins as a band. After the bridge the song fully divulges into a frenzied, near head-pumping guitar solo, in which all the subtle emotions hinted at are fully realised and wreck havoc and harmony on the listener. But like I said, Keep On Dancins are one of those bands that know less is more and thus, the band do not let the guitar solo go on for an excessive amount of time. Instead, allowing it to leave more impact than it otherwise would have if it had gone on for another minute or two. A lesser band would have done just that, but Keep On Dancins know exactly what they’re doing and most importantly, they trust their audience.

Published by AAA Backstage.

Live Review: The Kite String Tangle @ Black Bear Lodge, November 7, 2013

Defining ‘live music’ is becoming increasingly difficult with the wider range of music styles now popular amongst the masses, the most notable being electronic music. I always find the best indication as to what kind of music everybody will be raving about during the year to be the line-up for Laneway Festival. Last year’s line-up was certainly a nod in the direction of electronic music and this year is no different with New Zealander Lorde headlining. This is where popular music is going, but I’m not sure it is where live music should go.

I went down to Black Bear Lodge on Thursday, November 7 to check out some live electronic music acts, but upon first walking into Black Bear it wasn’t even evident anybody was playing. The place was scattered with a few early comers, but mostly empty. I wandered to the back of the bar to find a seat and surely enough there was somebody on stage, but nobody watching. The only person looking at the stage, apart from myself, was a lone girl standing in the centre of the room, staring lovingly up at Thomas Brydon, the solo artist behind the first act of the night, Motion Picture Actress (I presume she was a friend).

The sound of Motion Picture Actress differs from more commercially viable acts like The Kite String Tangle, in that there are no vocals and the songs dreamily blend in and out of each other; not exactly radio-friendly. This doesn’t mean it is any better. In fact, I would have to say this kind of music should probably be reserved for a chill-out at home, with headphones on so that one can hear the complexities of what Brydon is actually doing on stage, which are mostly lost in the live arena. The only person who seems to be having fun is Brydon himself as he bobs his head up and down with the music, whilst everybody else stands in clumps and clusters and chats animatedly to their friends, all the while completely ignoring Brydon.

Nothing much changes when Elroy 4.0 takes the stage, except more groups of people have arrived, still completely ignoring the live set. Elroy 4.0’s style is similar to Motion Picture Actress, a combination of hip-hop influenced beats and chilled out songs that recall a lazy summer day. However, that seems to be the more appropriate setting for this kind of music, which is why the audience are not that fussed about paying any attention. The only point in the night at which things liven up is when the man behind The Kite String Tangle takes the stage: Danny Harley. By this point the entire room has filled out, with punters squeezed into every corner, corners and chasms I didn’t think existed in Black Bear Lodge. Harley starts his set with a mellow song accented by light keyboard and strings. People immediately go crazy and although it is a nice song I don’t think it is the kind of song people really need to scream and cheer at.

After his first song Harley greets the audience, joking, “You can tell this is a headline show because I have my own table with my own wine.” Apart from the more engaging songs, Harley’s cheeky chit-chat with the audience is what sets him apart from his predecessors and is precisely why he has the big crowd: he connects with his audience. His self-deprecating chatter in-between songs feels genuine and helps everybody relax after the rather rigid sets from Motion Picture Actress and Elroy 4.0. This is the first show of the tour so it’s no surprise that Harley is particularly nervous and using humour to get through the night, but it’s an approach that works, and one I hope doesn’t disappear or become faked when the fame that he is surely on the cusp of is fully realised.

It is also important to recognize that The Kite String Tangle is hardly in the same category of electronica as the previous artists. Although the music may fall under the same broad label of ‘experimental electronic’, there is really little experimental or ground-breaking about The Kite String Tangle’s songs. They are pop songs in structure and style that happen to have electronic influences fused throughout them, but they are not experimental. But this is not to say they are bad, in fact, I enjoyed Harley’s songs far more than the other acts, but this is probably because they are more accessible and his performance was more engaging. But I don’t believe it should be labelled as something it really isn’t.

Danny Harley’s Kite String Tangle show becomes one of sing-alongs, laughter and dancing: everything a live set should be, even though his predecessors had demonstrated that perhaps electronic music was best left at home. Highlights include a song called, ‘Commotion’, complimented by heavy, dramatic synthesisers, a cover of Lorde’s ‘Tennis Court’, and of course, the title single ‘Given The Chance’, which perfectly closes the show. With his exciting, energetic performance Danny Harley proves me wrong about electronic music played live; any kind of music can be made fun and engaging when performed live if there is a performance, an element that was unfortunately absent with the other two artists who simply stood on stage and expected their audience to do all the work.

Published by AAA Backstage.