SPOD & Sekiden
Posted: July 25, 2003 Filed under: BLOG | Tags: music, Sekiden, Spod, Sydney, sydney music scene Comments OffWritten for OzMusicProject
@ Hopetoun: A few months ago I hopped on over to the Annandale to check out the Bumblebeez and was instead greeted by a grown man in tiny white shorts and a pink polo shirt. The man was shouting into a microphone and gesticulating wildly. No, another member of Sydney’s mentally ill hadn’t hijacked the stage, this was Spod: the (self proclaimed) raddest band in world. During this gig, SPOD or Scorpion Powers of Domination proceeded to hand out roses to various female members of the crowd, myself included, and when there’s bribery like that involved journalistic integrity has the habit of going out the window, but more on them later.
First up in the packed Hopetoun hotel was Sekiden, whose 80s bubble gum pop-rock has taken the band from its Brisbane roots, all over Australia and as far as the US and Canada. The trio managed to land themselves in two emerging trends: the dumping of bass players and the introduction of the synthesized keyboards, both of which work to their advantage. From their opening number Sekiden explode in your face like a brightly coloured cracker. You’re willing to overlook the aural assault as you ride their wave of infectious enthusiasm that seems to radiate from their performances. If these kids were any more animated you’d swear they’d pop right off the stage, and you’d probably be happy to throw yourself across the room with them. There are touches of inventiveness from Seja (vocals/keyboard), brother Mirko (drums) and Simon (guitar/vocals). In particular was their last track where we see the band take some risks by exploring the full dynamics which an intense and integrated three-piece can produce. Written by Seja, it’s a tantalising hint of all the great things this band will produce.
Launching the single ‘LET’Z DANCE!!!’, front man Lord Redfive, Scorpion of Sexxx, is part glam rock star and part gangsta rapper. This time round the man came decked out with a stage set – giant, pink, glitter blocks spelling S-P-O-D as well as a makeshift catwalk -, guitarist ‘the Kid’ and his ever present Lyra miniskirt teamed with legwarmer-wearing Scorpion dancers. Again the pink polo shirt had a showing, as well as a pair of tiny black satin shorts after the rip-off tracksuit pants were discarded. In 2003 we seemed to have found ourselves squarely in the 80s when it comes to both fashion and music, so Spod acts as a great reminder of all that was trashy and sleazy and fun of this decade. In its essence it is a man rapping/singing over electro-rock/dance backing played from a CD player, but somehow manages to be the more fun than an Olivia Newton John sponsored dance-a-thon.
With Let’z Dance having high rotation on triple j, as well as my personal favourite ’2131′ being featured on the test broadcast of highly anticipated new Sydney station FBI, Spod’s popularity has taken a quick rise in the last few months. While his catchy songs are undoubtedly radio-worthy and electroclash being the fad word of the moment, Spod works best live. The on stage antics (from throwing out handfuls of glitter to guzzling champagne), the dance moves which could challenge Travolta any day of the week and the stare which could bring a thousand girls to their knees – Spod’s on stage charisma is undeniable. Sure, most of its send-up, but he never makes that obvious, never slips from his stage persona, so we’re able to gladly bask in his self-induced rock-star glow. It can no longer be denied: Spod iz God.
Splendour in the Grass
Posted: July 16, 2003 Filed under: BLOG | Tags: music, music festival, Splendour in the Grass Comments OffWritten for Vibewire
@ Belongi fields, PHARMACY (AKA. ROBOBUGGIN) @ Great Northern, TOTAL SCIENCE @ C-Moog, Byron Bay: In the festival world, the ‘No Moshing, No Crowd Surfing’ sign is universally ignored. Not so at Byron’s music festival ‘Splendour in the Grass’ where the punters are far too mellow to disagree. That’s not to say the predominantly Sydney/Brisbane crowd of hot, young bods (where have all the hippies gone?!) weren’t enjoying the extraordinary lineup the festival offered at only $99 for a two day pass. Let’s just say the festival name is apt: Splendid tunes floating amongst a lot of grass.
While rain stayed away for much of the event, it had showered the day before, hence the muddy ground – but it was all part of the fun. Lines to the festival and on the buses to return to town were quick. All in all it was well organized, and minus the aggro ‘see how many faces I can push into the dirt’ fans of Big Day Out, Splendour is rapidly becoming a far nicer alternative. And what else are you going to do in the winter anyway? With most of the big names being reviewed elsewhere or heading to a town near you I’m putting the spotlight on a particular few interesting acts.
On Saturday the Supertop was kicked off by The Re-mains and the Bumblebeez. The Bumbleez, relatively new on the scene sound unpolished and unpracticed. On the flip side their erratic sound is raw, explosive, unexpected and refreshingly spontaneous. Two groups who would make AC/DC proud include The Casanovas and Jet. If put head to head Jet would come up on top, with their repertoire being far more varied and each song consolidating their impressive rock sound.
Other highlights included witnessing the much talked about ‘return to rock’ for Powderfinger, the exquisitely sensual delights of Goldfrapp at the Mix-Up tent as well as hearing the legendary ‘Seether’ by Veruca Salt. The Sleepy Jackson, Magic Dirt, The Music, The Living End also shared the Supertop while the Mix-Up tent saw Overdub, Sarah Blasko, Decoder Ring, Gerling and Alpinestars with Ajax and James De La Cruz filling in the DJ spots.
On Sunday The Fergusons and The Mess Hall featured early on the main stage. The Mess Hall seem determined to prove that country isn’t all Dixie Chicks and Shania. Each song attacks the crowd with their driving, hard country rock with the pace rarely dropping. Later in the evening John Butler Trio delighted a packed crowd with a set that would kick Jack Johnson’s ass any day of the week and bringing out Ben Giles (Silverchair) as a special guest on the bongo drums. Screamfeeder, Sunk Loto, Frenzal Rhomb, The Superjesus, Placebo and Coldplay also taking to the stage.
The Mix-Up tent could have been renamed the Hip-Hop, with acts such as Downsyde, Katalyst and 1200 Techniques showing why Ozzie hip hop is becoming such a force in the Australian music. On the American front were Motion Man and KutMasta Kurt as well as the tongue-in-cheek humour of Ugly Duckling. Also, a hand should go to Goodwill and Adam Freeland for an excellent dosage of breaks between the acts. The musically cosmic wanderings of Death In Vegas managed to draw a decent number away from headlining Coldplay. Their meanderings through ambient progressions of dark and light textures, ending with the violently sadistic sounds of ‘Hands Around My Throat’ made for a wonderful end to a wonderful festival.
Other non-Splendour acts seen in the week at Byron include Total Science, an impressive drum and bass act from UK dropping in at the club with the best sound system in Australia: c-moog. Friday night Pharmacy showcased his eclectic set of brakes at the Great Northern hotel. Hailing from Brisbane, this one-man electronic act will soon go under the name of RoboBuggin and hopefully release an album later this year.
It was an amazing week, which only makes the return to retail-whore work all the more painful. Thanks for the memories, and until next year I bid you farewell, Byron!
PURPLENE & DAPPLED CITIES FLY
Posted: July 4, 2003 Filed under: BLOG | Tags: dappled cities fly, music, Purplene, Sydney, sydney music scene Comments Off@ Hopetoun: Four piece band Dappled Cities Fly are in the process of owning a sound. Which is saying a lot considering a lot of bands never end up developing one all to themselves. Phrases such as “energetic, weird rock” and “quirky, unexpected chaos” have been bandied around. And there are definitely some influences out of Pavement and early Nirvana. From their repertoire emerge some catchy radio-worthy tunes as well as some intriguing and all in all successful attempts to experiment with different textures and noises. And all without a synth!
It’s a shame not enough bands take a risk in instrumentals. For the most part, the risk is worth taking as is the case in Sydney band Purplene. Their songs with pared back or absent voice, and there a quite a few, are the most successful. It’s pulled off by their ability to play their respective guitars, from which they bring some creative and inspired sounds while maintaining a clean, tidy execution. And a gold star to Matt Rossetti for his manipulation of drums, managing to go from subtle to lively and all the tones in between. When lead singer David Ledlin does belt it out, it’s a curious punk sound that jars interestingly with the dreamy melodies and dynamic harmonising of the guitars.
