Ok, a couple of big shows at Dux Live this weekend; firstly Goodshirt returned after what seems like a decade, playing material from their to-be-released comeback EP plus a string of their catchy earlier singles.
Sleepy Age we’re just phenomenal in support, playing in a new line-up with three (sassy) backup singers. Check out the photos here.
The 2nd show was saturdays final of the RDU 2012 Round-Up band competition, won by the talented up-n-coming lads Ipswich.
Only got the chance to see Ipswich, but they were a lot of fun, with the crowd moshing around to ‘Alien vs. Sexual Predator’. Choice. Photos here.
I awoke to a wonderful, sunny day in Wainui. Finally the heat that had made the 2009 festival such a delight had returned, although I was still not going anywhere near the lagoon! I had a really relaxed morning, taking in repeat performances from the terrific Guerre, Wintercoats and a little bit of Brian Borcherdt.
I somehow managed to miss Watercolours (the current pseudonym of Chelsea Jade – one of the wonderful voices behind Auckland trio indie-folk trio Teacups) and took lunch during the mid-day slots before catching Perth 3-piece Usurper of Modern Medicine inside the noisy room. Describing themselves as post-rock is a bit of a stretch, but I did enjoy their big bass-grooves, before heading to the forest where solo drumming-based act Sexy Merlin had a few technical difficulties to start his set.
The impressive Bare Grillz played their repeat show out in the harsh sun of the lawn stage, but it was Christchurch’s Sleepy Age I couldn’t miss in the afternoon slots. A fairly packed room saw the indie-pop 4-piece play a solid selection of songs, including the disco-tinged single Décor (which they’ve made a terrific video for) and a couple of songs showing off front-man Josh Burgess’s falsetto skills.
I spent a lot of the afternoon chilling at the camp site with my friends, hearing the tongue-in-cheek hair-metal sounds of Razorwyre echoing around the camp. Wellington’s quirky Orchestra of Spheres impressed with hand-made instruments and out-there costumes, and guitar whizz Kirin J Callinan received a rousing reception to a large crowd at the Lagoon.
As the evening approached I was in the renegade room checking out some quality indie-rock. Firstly Auckland’s Grass Cannons played to a packed crowed; bassist Paul Brown somehow kept playing despite suffering a broken arm earlier in the festival.
Christchurch’s punky Trio Ipswich had to call upon Rueban Winter to fill in on drums for the absent Jamie Larson; which gave the group a sloppy but intense feel. As night fell US duo Prince Rama graced the big stage, playing a very theatrical percussion based set – high on atmosphere.
Sydney duo Baaddwere super-fun down at the lagoon, heating up the crowd with dancey songs and a whole lot of cheeky screaming; proclaiming ‘You don’t need musical talent to form a band. Just wear a leotard, jump around and scream a lot’.The Dan Deacon Ensemble were probably the head-line act of the festival, and it was an incredible site watching their crowd ripple back in forth following Dan’s dance move instructions and pulsating sound. An over-excited crowd flowed forward too fast for their own feet, causing havoc at the front of the stage.
The night was a bit of a blur from this point on – US dance act Publicist brought the trance vibes back to the forest, $noregazZm played an exciting repeat show in the noisy room, as did All Seeing Hand at the new ‘screen’ stage (which consisted of a projection screen backed against the hillside covered in native forest) and I ended the festival with the incredible (and incredibly vulgar) BMX Rapists, and popular hip-hop act Tommy Ill – both lighting up the noisy room with enthusiastic performances late into the night.
Absolutely brilliant festival, I can’t wait for next year.
Disco-pop indie-rock tunes from Christchurch’s own Josh Burgess (Guitar/Synth and Vocals, ex Bang! Bang! Eche!) with Josh Black (Bass, ex A Flight to Blackout), Julian Vares (Drums, Magic Eye) and more recently Charlie Ryder (Keyboards, Bang! Bang! Eche!).
The group formed in 2009, initially as a more straight-forward indie-rock group with Hayden Williams (drums, also ex A Flight to Blackout) and Will Edmonds (guitar, ex Insurgents) who contributed greatly to their original sound; with the group even going on to win the annual RDU ‘Round-up’ band competition at the Dux de Lux.
In 2010 and 2011 the group went through several line-up and style changes; played a low-key European tour and then released the excellent pop video ‘Décor’, which solidified their new direction.
Cracking fundraising event for Fionn and Netta’s trip to Kenya last night. They put together 10 of the best young acts in Christchurch to raise a little dosh to help with the construction of an orphanage.
With Sleepy Age, Transistors and Bang! Bang! Eche! all playing a whole swag of new material it seemed like a real milestone event, putting the last year behind us.
Great to see the younger kids getting into the show too, I’m just sad I missed the opening few acts – I still haven’t managed to catch the much-vaunted Psych Tigers, instead arriving at the beginning of St Eden’s mellow electronic set, followed by similarly laid back sets from the thoroughly slick Coate, and a lovely droney set from Valdera.
From there things picked up a notch with Transistors kicking ass and taking names, Planet of the Tapes just going out of this world (and encouraging the crowd on stage to surf along), Sleepy Age bringing the Disco vibes and falsetta vocals, and Bang! Bang! Eche! playing their hand as the manic closers.
Click here for the rest of my photos from this excellent event.
Sleepy Age played a fundraising show at that ole’ suburban All-Age’s nite-spot Zebedees. Along with Sleepy Age (who are about to head off on a European tour) there was young crew Villian (who were very Interpol, and not too bad) plus post-math-rock guys Coate; who sounded great! Photos from the show
Males in their mid 20’s experiencing low self esteem and the bleak prospect of a life of solitude dubbed over English pop songs in their basements in order to attract ladies. Poor English resulted in out of sync vocals and song choices for Poland’s hopeless romantics. The fad was relatively unsuccessful artistically and sexually. Only a handful of these videos still exists.