BAND: SLEEP PARADE
VENUE: THE LANSDOWNE
DATE: 13/12/13
SUPPORT: MINUS HOUSE,
VILLAGE ECHOES
Moses Belamy stood at the base of the M4
motorway to part the perilous Sydney traffic, allowing the star struck and doe
eyed Israelites that shadowed him to make their mass exodus towards the asylum
of Fort All Phones. Only the rich and opportunistic were chosen to make the
pilgrimage to witness the combined aural onslaught of Muse and Birds Of Tokyo.
This meant that my Padawan and I were left to brave the muggy city weather in
hopes of locating a more economical form of musical entertainment. Word soon
hit our hungry ears of a free event being held at iconic music hovel The
Lansdowne Hotel, which fell well into our paper thin budget. We hastily made
tracks towards the econo-savvy dive, making sure to always travel in single
file to hide our numbers. Arriving quicker than Leonardo Dicaprio’s journey to
secure his inaugural Oscar, we enter the carpetless room where the beading,
steel beer pipes were adorned with Yuletide tinsels of red, silver and green.
The kitchen gods upstairs served up an animal friendly feast of vegetable
sandwich towers, sticks of fried potato and flagons of gelid amber able to
break our fast. After our stomachs had deemed themselves satisfied, I escorted
my eager apprentice back downstairs into the musty band room where we awaited
the advent of the preliminary performers.
I first scouted Sydney indie 3 piece VILLAGE
ECHOES a few weeks ago at the Locies where I picked up a copy of their
debut EP “Evolve” and I was curious to see how it would transition live now
that I knew the songs. They demonstrate an abundance of influences throughout
their performance with the likes of Bloc Party, Foo Fighters and Good Charlotte
tickling my giddy eardrums. I immediately notice the absence of second
guitarist Lauren Shapiro both in presence and in the richness of their sound.
The songs all have the potential to be certified pop hits but they lack the
punch that they possessed at the Locies without Shapiro there to chunk it up. Ridiculously
catchy single “Another Thought” which is heavily influenced by the likes of
Arctic Monkeys and The Living End seemed to suffer the most from her absence. Dominating
stage presence Steve Parfitt wields his bass as if it were an extension of his
own body and makes great use of his effects pedals to essentially turn a chisel
into a jackhammer. He is by far the most comfortable on stage and seems to have
a blast playing the music regardless of how lacking the crowd were during their
set. Guitarist/vocalist Alex Almasi seemed distracted and uncomfortable whilst
singing throughout the set, possibly due to his inexperience onstage or maybe
because his father was videotaping the performance on his phone. When he moved
away from the microphone and was purely focused on just playing guitar, his
performance improved tenfold. The vocals of Almasi and Parfitt are almost
identical and add no real diversity when both are singing at the same time. Up
the back of the stage, powerhouse percussionist James Pounsett never took his
eyes off the toms of his kit. The volume of his snare was set to eleven and the
muscle memory of his arms ensured that they never missed their targets. He made
great use of 16/4 beats and the cowbell whilst a single tuft of his fringe
seemed to be trying to perform the role of a third drumstick. Slower track “In
Memory” was by far the strongest of their performance as it was the first song
to sound rich and full. Village Echoes are still quite a young band who show a
lot of promise and are definitely a group to keep your eyes on. Every aspect of
their performance will improve with a steady run of live shows and the sorely
needed re-addition of a second axe into the group.
I was pleasantly surprised to discover that
Sydney’s ethereal/alternative rock outfit MINUS HOUSE were on the
bill. I first caught the boy’s open for Dead Letter Circus last year and was
instantly hooked. Their sound is huge from the first note and the abundance of icy
reverb coming from both guitars reminded me of Donkey Kong Country’s dreaded water
levels. Coldplay was the most obvious influence throughout the set with some
Oceansize and Cog thrown into the mix to keep it interesting. Rowan Cane’s
stage persona seems disinterested in the performance, which oddly enough makes
it all the more compelling. His captivating vocals ranged from airy and wispy
falsettos through to some very sparingly used screams at the apex of huge
crescendos in the music. Guitarist and Van Helsing impersonator Liam Clark was
in another place the majority of the set, seemingly being lost in the music he
was creating. Hirsute bassist Peter Calvert provided a rock solid foundation
for the multitude of layered effects created by Cane and Clark. He did this
without the use of a single effects pedal and by getting the deep humming
drones of his instrument to waltz in time with the kick of the drums. He kept
trying to sweep the mane from his bearded face which only angered his curly,
chestnut locks. Drummer Barney Hudswell is an intense force on stage. He
utilized his cymbals brilliantly and possessed great skills on the toms.
Hudswell added an interesting level of fervour to the quartet by letting out a
roar with every forth beat of the music and throwing in sporadic bursts of head
twitches to let the room know he meant business. Minus House never announced
their last song, so I was completely caught up in the atmospheric tunes when
the set seemed to end without warning, leaving me disappointed and wanting
more. I have no idea if it was a brilliant move by Cane or if they simply
forgot to mention it. Either way, I’m gagging to catch them again.
Before tonight, Melbourne’s alternative
rockers SLEEP PARADE were a band whose hype I just couldn’t
fathom. They have gained the respect of Australia’s most prominent alternative
artists with Cog, Karnivool and Dead Letter Circus amongst their supporters.
I’d seen them play as a three piece a few times and I even walked out of their
set the last time they were in Sydney when they opened for The Butterfly
Effect. My opinion of them was about to change. Matt Delaney, the tenth member
of the Weasly family, had made the move from bass to guitar and he was a much
stronger performer because of it. He was utilizing some synth as well but it
was completely lost in the mix until the end of the set. Taking his place was Silent
Bob look alike Braiden Michetti who single-handedly shifted the dynamic of Sleep
Parade from pub rock band to guaranteed stadium fillers. His bass lines played
an integral role to the new format and made the overall sound a thousand times
more vibrant. Think how important Chi Cheng’s bass line was in Deftones “Change
(In The House Of Flies)”. This is what he brings to the table. Leigh Davies was
sporting his trademark fedora and vest combo; he had no shoes but was all class.
The charismatic front man brought along a legion of guitars with enough glitter
in them to out sparkle the twilight universe. His vocals are the result of Jon
Hume (Evermore) being thrown into a boiling cauldron with a half sprinkle of
Craig Nicholls (The Vines) and Matt Belamy (Muse). Delaney on the other hand
reaches notes only achievable by a castrated cherub which provides a nice
contrast to Davies’ raspy vocals. Influences such as Muse, Radiohead and
Coldplay rang clear throughout the set with hit track “Carry On” causing every
head in the room (including the trio of bar tenders) to bob along to the beat
of the song. No piece of the drum kit was safe from Dan Teng who had a look on
his face as if he was in mid orgasm the entire duration of the set. The man
really enjoys hitting shit with sticks. The distortion was sharp, crunchy and
echoless while the clean guitars littered the room with copious amounts of
reverb. A great moment in the set came when all four members repeatedly chanted
“Ooyawayah” which served as a really powerful opening for the Cog-like anthem
that followed it. Everyone in this band can sing in tune which is so god damned
refreshing. The resulting harmonies that come from it are light-years ahead of
what most bands are capable of and only serve to further increase the
monumental wall of sound that was being displayed before me. Davies’ smile on
stage whenever they played any new material was infectious; it was a grin of
pure pride. A new song in the set which reminded me of Hed (P.E.)’s “I Got You”
made me tilt my head like a confused dog, as it took me a while to wrap my head
around it. It kept changing direction like a shuttle run, showcasing simple tom
poundage and sludgy, note-bending guitar work akin to a spaghetti western. On
the other end of the spectrum, song of the set “Passenger” roused a huge crowd
reaction and was the strongest way possible to finish their gargantuan show. It
opened with a jaw dropping bass line which continually danced scales up and
down the stings of the brown noter and ended with the entire band engaged in
glorious orchestrated chaos reminiscent of a raging thunderstorm. Sleep Parade
left the stage having played a near flawless show chock full of anthems from start
to finish. After the initial applause, the thirty or so people in the crowd
chatted amongst themselves without a cheer to be heard which is why I was
completely shocked to the point of almost being disgusted by the fact that they
returned for an encore. The whole purpose of an encore is to make the fans
demand it not to force it down our throats. However I quickly forgave them as
the final song was a corker of prog rock splendour. Davies left me speechless
when he screamed into the humbuckers of his guitars to create an amazing
soaring effect similar to the sample of the baby used in Rammstein’s “Mutter”. It
left me foaming like a teenage girl at a Justin Bieber concert and made me
instantly forget about the poorly incorporated encore from before. This
demonstrated without question, just how ambitious and epic these rocking
Melbournite’s are.
Once again the turnout to support
touring Aussie bands was beyond disappointing. Sydney’s support of live music
is infamous for being next to non-existent. I understand Muse were playing on
the same night but this was a free gig which barely managed to get 40 people to
the venue. This had nothing to do with the quality of bands on show (which was
phenomenal), just the attitudes of Sydney’s elitist music fans who won’t watch
a band unless they’re signed. Every band that played tonight have the potential
to be something huge and I’ll be proud to say that I was there for them when no
one else would give them the time of day.
Don’t be a dick, Sydney! Support the
live music scene.
Joshua Towney
FYI, the "encore" for Sleep Parade was actually a break while the synth intro played for the final song. Nobody moved because everyone knew it wasn't the end ;)
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