Anne WidjajaVerdict: Nevereverland- Modular Records 10th B'day
December 29th 2008 11:23
Van She certainly has been doing the rounds on the live music scene and it seems to have paid off. They've developed quite a following with many fans in the audience waving around their sign- a 'V' (a peace sign) and the placing of this 'V' on your mouth and wagging your tongue around (also another universal sign for getting some action in one's nether regions. They really should at least try and be original). They played a decent set, much potential for jigging, a good mix of techno and pop - 'strangers' is a soaring example of dramatic dance music, pop friendly with some interesting layers of electro beats and a smooth vocal. Next Ladyhawke graced the stage with her too cool Kiwi presence (never thought you'd see those two words together eh?). Her band had not only a cheerful drummer whose talents were brought to our attention by other members of the band generally turning in his direction, but was also comprised of the most perfectly manicured scenesters this well seasoned gig-ger had ever seen. Perfect waify, borderline mohawk, borderline mullet hair dos, loose checkered shirts and black skinny skinny jeans (the skinny jeans lanky guys can pull off which make you wish you had their disproportionately pole like legs). The band pumped out the Lady's tracks to perfection, ending on 'My Delirium' which everyone keenly reminding Ladyhawke to play after every song - not surprising considering Triple J has been flogging the track to no end for the past three months. Ladyhawke and band certainly are a tight unit of electro pop, channelling an interesting mix of synth beats, solid drum rhythms and 80s infused Cindy Lauper-esque vocals (refer to 'Back of the Van'). However, the band is somewhat lacking in stage presence. The picture perfect gleam of the band members and the minimal overt rocking out created a bit of distance between band and punter.
Ladyhawke
If I could pinpoint the time the party really got started it would have to go to the entrance of Hercules & Love Affair to the stage. A loco mix of overt gay/straight/cross dressing band members with a penchant for sexual innuendos and a flamboyant sound to match: blaring trumpets, keyboard rhythms, synthesizers galore, surprisingly well coordinated as well as boundlessly energetic. The Ajax DJs followed with an amazing set of dance tracks that were almost entirely un-recognizable due to the fact they were mixed so well - if you have no idea whats playing you know you're listening to pure talent my friend. Cut Copy followed and whilst they did take their sweet time to get on stage no one really minded the Ajax DJs did not let the mood get stale with dull anticipation. Never have I witnessed a band so committed to connecting with an audience, from a front man who was preaching the lyrics (he may as well could have been saying hail me you dance crazy mofos) to the rest of the band who just looked really really into it, or maybe really really out of it. drugs? cough. Whatever was going on the crowd was completely sold and loving every minute of it. Hats off to a band which I initially imagined would have had a very stiff performance suited to the pure electronica/dance beats that they produce. Highlights were clearly their biggest singles: 'Hearts on Fire' and 'Lights and Music' - proving that it's really all about getting the crowd excited and creating that electric atmosphere between band and sweaty crowd - something that only happens when everyone is heartily singing along and getting their groove on.
Hercules & Love Affair
Cut Copy
The Klaxons were a bit of a sore thumb on the line up, but as far as sore thumbs go this one was thumpingly spectacular. From beginning to end, they played a tight set of hit after hit, from the oohs of Golden Skans to the whirring sirens of Atlantis to Interzone, to the perfect mix of a killer guitar/keyboard riffs and that perfect blurred synth mash bridge in As Above so Below, the band were in top form. Less into the hyper galactic costumes I last saw them sporting, they had returned from the hyped planet of 'nu-rave' and really perfected the music of a genre you can't quite put your finger on (I'd say alternative rock, with a healthy dose of synth and electro). As frontman James Righton recognised there was 'too much love Sydney!' and for good reason. Just when I thought I could not be more blown away, The Presets happened. Never have I felt as if a place as annoying ginormous as the Hordern could be that close to exploding with the atmosphere of crowd ready to burst with heat, sweat, and a general flouncing that wasn't even annoyingly squishy and squealy. A two man band with such a dark, 'industrial' sound nearly brought the house down with 'My People'. And then the next day I heard that they proceeded to bring the house down at the Macquarie Bank Christmas Party. Couldn't have labeled 'sell out' more convincingly, though those accountants deep deep down probably do harness a great constrained power to raise the roof.
The Presets
No doubt this was the coolest 10th birthday party ever held, minus party bags and clowns and more, well, recreational drug use. Next year I encourage all to experience Nevereverland - you won't want to leave.
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