Category: Gig Reviews

Brungas Band

I want to go to the beach with Brungas Band

I’ve wanted to review this band for a while but have been tossing up whether I want to keep them a secret or not. If my Facebook stalking is correct, the band of four met in school and has been playing the Melbourne scene since 2014.


I first saw them last year when they supported indie-folk band Mango Retreat’s EP launch at The Worker’s Club in Fitzroy. I remember thinking that the lead singer had a really strong voice, but it wasn’t until I saw them play at the Penny Black in Brunswick and more recently at the Arcadia Hotel in South Yarra, that I took a real liking to the Brunga’s sound.


Brungas Band is named after the band’s bassist Alex Brunga. They are a group of good-looking young guys with an indie-surf-rock sound, and hot, original lyrics and melodies to boogie to. Their stage presence is also on point- the lead singer even took his shirt off at one of their shows (sadly I missed that one).

Read more …



AMISTAT launched their album Parley at the Northcote Social Club in Melbourne last Friday night to a crowd mesmerized by the German twin duo’s folk/pop sound.

Josef and Jan Prasil, the German twins behind Amistat, opened with Presence, the first song on their new album. The audience was still, silent and in complete awe of the twins’ on-stage connection felt by everyone inside the Northcote.

Josef and Jan brought a unique and synergized sound to the stage. The eerie folk/pop sound of Parley with influences from Passenger and the Tallest Man on Earth is perfect for car chills, music for the house, and a night drinking by a fire. 

Nameless Depth, Parley, and Vada were my personal favourites but the whole album is definitely worth a listen. If you’re into folk and indie music, do yourself a favour and check out Amistat!

You can still see Amistat live:

Saturday 19th March – Grace Emily, Adelaide, SA 

Saturday 2nd April – Odd Fellow – Fremantle, WA

Sunday 3rd April – Four5Nine – Perth, WA

SUPPORTING Amistat was Oliver’s Army from SA and Ben Whiting from NSW who were each deserving of their own shows. These acts were certainly more than just another “support” act.

Oliver’s Army performed first, playing tracks from his album Nothing Ever Really Stays the Same. Ryan Oliver played without a band and still nailed each song. With sounds similar to Darren Middleton and Bandito Folk, the audience sat on the floor, relaxed, and enjoyed the raw quality of his voice and the sweet sound of his harmonica.

Liquor Store and Ryan’s cover of Tom West’s I drank all the rum were highlights. A special mention to the guys who came on stage to sing some melodies for Liquor Store and a shout out to Tom who wrote I drank all the rum because he was dumped on Christmas Eve over text message. Poor Tom.

Ben Whiting played next and blew away the audience with a voice to rival the likes of Vance Joy, Matt Corby, and Passenger. His indie-folk sound was compelling and got the crowd on their feet. Wildflower and Private Island, also the title of his upcoming EP, were popular with the crowd.

Ben is known throughout Melbourne for busking and last night played with a full band. David Knight, also a solo artist, played keyboard, Victor Salamandra from Columbia on the drums, and his cousin Billy Donaldson on guitar- all great musicians and worth a mention.

Keep an eye out for Ben’s EP launch later this year






Amistat- photo by @jasmin_elise




ART VS. SCIENCE at 170 Russell (12 March 2016)

Off the back of a dynamic new album in -Off the Edge of the Earth an Into Forever, Forever-, Sydney alternative dance three-piece Art vs Science are now roaming the country, dazzling crowds and setting the pace for live Australian music in 2016. Alongside them where a variety of local acts and electronic songstress KLP. 

Timothy Neville and Elias Valbe went to see the dynamic trio and their touring pals last Friday. Read more …


Unify: A Heavy Music Gathering 2016

Unify: A Heavy Music Gathering is Australia’s premier metal and hardcore showcase. And in light of the fall of Soundwave, Unify is now the only major festival of its type taking place.

This two-day BYO boutique camping event entered its second year this weekend, selling out 5000 tickets. Sporting the likes of Aussies Parkway Drive, In Hearts Wake and Tonight Alive on the top end of the lineup, the festival featured  international acts for the first time this year, with pop-punk heroes Neck Deep and State Champs appearing.

Read more …


Calling all aspiring Djs, It’s Yourshot!

Yourshot gives aspiring djs and curious enthusiasts the chance to compete for the prize of playing at Stereosonic, meeting Tiesto, and kick starting their career in the Industry.

If you haven’t heard about Yourshot, plainly, you have now, and there’s no going back!

Sponsored by Pioneer, Redbull, Alize, Agwa and Alcatel One Touch. It’s big game, high stakes and much to fight for by contestants.

What’s better than playing your favorite tunes, on an overly powerful, world class sound system, on industry standard equipment, with a crazy light show behind you, including a huge 2 meter LED screen to all your friends, drunk and hyped out of their minds?


Topped off with the incentive to play at Stereosonic, liaison with people in the industry, and meet like minded, music loving friends for life?

Even if you’ve never touched decks before in your life, look at a dj controller and think ‘I’ve never been inside a spaceship before, what does this even do!?!’ not to worry. The awesome supportive team have your back, emotionally and technically, providing six weeks of training from the best in the Industry to make sure you have Your shot.

At the Climax of the six weeks, after training and careful song selection. There’s a two day marathon weekend were the chosen contestants get their chance to show their skills. The music, the Djs, and the overall energy will blow you away. For a ten dollar ticket price, even for a day out to enjoy some great music, it’s total value.

This year was mind-blowing. There was so much talent in the pool of Djs this year and with performance from A-Tonez, who was one of the trainers, scratching, and absolutely, straight up killed it with a multi genred steam pot. Honourable mentions to the winner this year Sami Kabaha, running the Trap & Hip Hop. Runner up, Ian Alexander, pumping the Electro, Trap and renege breaks, and Wild Card winner, Will Hall, boasting with a Minimistic Futuristic House set.

Any aspiring, up and coming djs out there, this is no joke. I highly recommend registering next year in June. It’s an experience and adventure like no other you need to add to your to do list.

Featuring me, critically evaluting the spectacle 99.9% of the rest of the time was spent dancing

Featuring me, critically evaluting the spectacle 99.9% of the rest of the time was spent dancing


The ‘Golden’ Gordons

Walking into the Espy on a Tuesday, with my dear Zio on our man-date. Conflicted feelings swelled in our souls as we confused Astor Theatre movie dates; missing Scarface. But all was not lost, the night would take a sudden turn. The Gordons, my dear brothers from Caulfield whom I had wasted much time with before tutorials, were setting up in good humour, getting ready to rock the people attending the fabulous Espy on a Tuesday night.


Little did they know I had my notebook, prepared and ready critique their performance in my usual fashion. I have habit of doing this even when I don’t plan to, and even without the notebook, musicians will understand.


Opening with Red Hot Chilli Pepper covers, I was already very excited and impressed. There was a synergy between the band members. It was clearly evident right from the get-go they had shared more than a few jam sessions. This wasn’t all that impressed me, they had put some serious thought into the tone and sound that they wanted to produce – their signature. The guitars sounded absolutely fantastic in their respected ranges. The rhythm, a funky grudge with a pleasant melodic undertone, the other strung to sequel like an angel orgasm-ing at the movement of his mere fingertips.
If that doesn’t sound appealing enough, the synergy between the guitarists playing off each other during breaks and solos was incredible. And there was plenty of them, showing off this talent and synergy that only comes with liberal, regular practice, tight bonds and trust; which gives the band a professional entertainment dynamic. Stage presence was nothing short of fantastic.


The original songs they played afterwards can be described as a positive groove; surfy, featuring funky grunge guitar riffs. Rory starts busting out Rhymes with the flow of an actual rap god, bringing a renege edge and even mellow vibes. Despite the mellow vibes at times, I always felt a sense of optimism, testament to the energy from the stage, the instrumentals, and the passion emanating from the positivity of songs themselves.


Between their sets, they were even so kind to give me a shout out. How lovely.


What really brought out the funk was the bass. It’s always refreshing to see a really good bass guitarist, playing slap as well. Yes, The bass guitarist plays Slap. Good Slap Bass. SLAPPP BASSS!! This final combination was like God playing Mortal Kombat, selecting his dream-team. Whether it happened though spontaneously smashing his controller, that controls the destiny of the universe, and delivering a crazy combo, or was simply planned.  We shall never know.


We shall never know if such an almighty controller exists, but guess what? The Gordons Exist, and you haven’t heard of them, and you need to take a moment in your day to acknowledge their existence. Go check them out if you get a chance.


‘Time to open eyes’ — Enter Shikari at The Forum (22/05/15)

Enter Shikari with special guests Hands Like Houses and Hellions (18+)
The Forum, Melbourne
22nd May 2015


Admittedly, I am a very new fan of Enter Shikari and had no idea what to expect, having only caught onto them before the release of their latest offering The Mindsweep this year. The show put on by the British electronica/hardcore genre-crossing quartet Enter Shikari can only be described as breathtaking—figuratively and literally.

Melbourne’s historic Forum Theatre hosted Enter Shikari last night along with Aussie supports Hands Like Houses and Hellions. This particular venue is absolutely gorgeous. The Greco-Roman decorated venue dates back to 1925 and has a rich, old charm about it. You enter the theatre feeling as though you are about to see Shakespeare or a comedy show… then you see the masses of keen punters sporting tattoos, tie dye t-shirts, eyeliner, ear plugs and the occasional ‘top-knot’.

The foyer’s mezzanine features the expected flock of twenty-somethings downing pre-show beers. Inside the hall, the roof is lit with gradient, dark blue light and scattered white LEDs, emulating the night sky. It really contributes to the atmosphere of the show and gives this indoor venue an outdoor feel.

Preceding the headliners were Hands Like Houses, a post-hardcore/alternative rock band from Canberra. An otherwise great set was rife with technical difficulties, namely the drums going mute as a result of the sound being run through the drummer’s iPad. Classic Apple. Instead of continuing the songs and roughing it like troopers, or even just getting a tech guy out there, singer Trenton Woodley (who has incredible pipes by the way) stopped the drummer in his tracks. The on-stage banter was awkward, yet hilarious. The band finished 10 minutes early.

Ten minutes before Enter Shikari took to the stage, a 1950’s-themed broadcast announcement (think any stereotype of American news in the 50’s) began informing ‘patrons and their families’ to have a ‘magical evening’. The announcer (pre-recorded) continued a minute-to-minute countdown while the electronica-style mix was interspersed, evidently created by the band’s DJ/programmer/synthesizer/singer Rou Reynolds. Fans raved with strangers as if we were all old mates.

“You have no idea what you’ve got yourself into!” Rou screams throughout the anthemic electronicore (electronica and hardcore) opening track The Appeal & The Mindsweep I. The recurring lyric motif was a stark warning to all punters in the crowd… this was going to be a big one.

Singer Rou Reynolds performing during 'Radiate'

Frontman Rou Reynolds performing during Radiate

The almost lunatic-like stage presence of multi-instrumentalist singer Rou Reynolds captivated fans from the get-go. His eerily low energy in the opening verse of the introductory track was met with fans bouncing and pushing and screaming the spoken-word poetry of Reynolds back at him in an almost deafening collective cry, myself included. Then the song kicked in. What is particularly interesting about this band is that one minute fans are raving like one would at a nightclub, and the next they’re moshing – violently flailing ones limbs in all directions in the most hostile of dance forms. The genre-crossing in this particular form is a marvel to behold.

In the closing stages one of the bands new songs, The Last Garrison, Reynolds mounted his synthesiser/sequencer and began teasing the electronic melody of the classic Juggernauts. “GARRISON! JUGGERNAUTS! MASHUP!” he cried before the stunned fans. The inventive remix of the two tracks was exciting to every single patron in the venue. The band used this to transition into ‘Juggernauts’. That’s one unique way of transitioning songs.

The setlist was a perfect balance between the band’s new album (which I believe to be the best album of the last 3 or so years) and their cult-followed back catalogue. Highlights included the dance-rave in Gandhi Mate, Ghandi and the crowd hysteria during fan favourite Sorry, You’re Not A Winner.

The setlist, caught by Instagram user @Fi_Bee

The setlist, caught by Instagram user @fi_bee

In an interesting turn of events, Enter Shikari opened the encore with what my cousin described as ‘punching fans right in the feels’. The tear-jerking Constellations is a slow, ambient, space-like ballad that is sombre lyrically and emotional (to say the least) musically. Lighters lit the entire hall. And as the song came to a close, the already teary frontman once again manned his synth/sequencer and launched a Constellations and Slipshod mashup transition.

The hyperbolic Slipshod (which comedically chronicles a poor dining experience) was the most ‘fun’ song of the set, in the sense that it was suspenseful, light then heavy, rave then mosh and most importantly, it is fucking hilarious. A must-listen for all curious about the band.

I was seriously gobsmacked by the crowd. In over one hundred gigs, I have seen few that draw a crowd this extreme. If music had a cult, this band would be its leader. These die-hards were so insane, so loud, so violent, so fun, so friendly. Each song was both a massive expression of passion and a fight for survival. As the band finished the final song ‘Sssnakepit’, fans beaten, tired and sore summoned all remaining strength to belt out the gang vocals that close the song, and the set.

“Come and join the party, leave anxieties behind, when the weight of all the world is pushing down” —Gang vocal on Sssnakepit


Didirri Didn’t Disappoint

On a frosty autumn night, in a suitably trendy street in Fitzroy, Melbourne, a melancholy riff floated down between the cobblestones and caressed the rugged-up passersby. It hovered between shop fronts and dodged the beeping, wailing traffic before trailing back to a small pub within which it was listened to in adoration by the hundred or so people lucky enough to be there. Yes, it was a very lucky night for those who were listening to the blessed music of Didirri.

The band that describes their musical style in the four words of ‘don’t folk with me’ certainly did not disappoint. The three-piece band from regional Melbourne, Didirri, recently played a series of shows every Wednesday from the 1-29 April, ably supported by Jordan Clay and the Skeleton Band, at the laid back Evelyn.

The Evelyn was a prime location for this local band, with dimly lit chandeliers scattered haphazardly upon the ceiling, red curtains covering the back of the stage and stripped-back brick walls creating an intimate setting. Draped languidly upon the couches surrounding the stage, and scattered around the bar lay the audience members; the picture of patience, they lounged placidly while waiting for the main performance.

The opening act, Jordan Clay and the Skeleton Band harked from Werribee, with Clay, Josh, RJ and Benny playing folk rock ballads with sorrowful lyrics, such as

Couldn’t be much more far from you

Down rosy cheeks stream the tears

That make me wonder why

Sung in Clay’s husky timbre, these lyrics were not only reminiscent of popular blues ballads yet also contained the rhythm and swing of later eras. Furthermore, his warm crooning style complemented the sparse base, while the analogue piano created a rustic, natural aesthetic.

Leading the band, Clay also adopted the same down-to-earth air, atypical to what is expected of a solo artist. “Other people probably say something intelligent,” he remarked while tuning his guitar, “I’ve got nothing.

While his music may not have held the full attention of all the audience members who calmly awaited Didirri, Clay’s self-depreciating smile and witty names for his guitars, Billy the Base among others, certainly piqued their interests and was a welcome introduction to the night. Finishing their set with a solo from Clay, the band were given a raucous round of applause and ushered off of the stage with more than a couple pledges of lovesick adoration*. Soon after, succeeding a small interval during which many more people were ushered into the cosy venue from outside, Didirri were warmly welcomed onto the stage.

“It’s like a bedroom on stage!” The front man, Daniel O’Keefe announced when he walked, alone, onto the platform. He stopped and seemed to think before following up with the question, “What bedroom has a hundred people and these bright lights?”

Beginning with a solo song from the vocalist, the audience stayed sitting on their seats and couches, yet visibly were seen to lean forward where before they had lounged, to listen intently when before had only listened amicably. He proceeded to clearly interact with the audience, asking “Should I invite the rest of me up here?” and subsequently doing just that at the crowds encouragement, claps and screams.

Their music had roots based heavily in hillbilly, where folk music was first popularized. Their own musical style is self-described as alternative-folk which is a much more famous genre now than it has ever been before. Even though Didirri played many acoustic-inspired songs and pieces, O’Keefe played the electric guitar adding moments of intense reverb, while Elijah Maddern played repetitive hooks on the drums and Josh Milgate kept the groove constant on the bass.

Not all of their songs had such a groove though, with lyrics including:

I knew God would remember my face

Merciful God

Please remember my face

O’Keefe performed these lyrics soulfully, his voice sliding up and down from one note to another, before softly ending his notes on a sigh. Indeed, this bittersweet tone was a motif through out their performance, with even the happiest of songs seeming to imply the possibility of sadness. Some of the more mellow pieces, with lighter playing, slower rhythms and lack of a heavy drum beat, would contain unique finger-picking of the guitar that was played morosely, creating hooks that were all the more memorable for their quiet refrain.

Whatever the mood, it definitely appealed to their audience of alternatively dressed hipsters, of whom many seemed friends of the performers. For example, when O’Keefe mentioned that his next song was the ‘dumpling song’, an echo was heard within the crowd before some of the young men in the front shouted with vigor “Yes! The Dumpling Song!”

It was nearly midnight when the band announced their last song, “Strange. Introduced as a song “about caring for someone but not loving them,” it ended the show on a sorrowful note, but perhaps that was how Didirri intended to be remembered; as a band that captures the listeners’ heartstrings and doesn’t let go until the very end.

The Concert was definitely worth seeing live as it was not only a performance that flowed incredibly well, but it was also a superb introduction to the incredible talent of local Melbournians. If you haven’t head of Didirri then it is to your detriment but wipe away those tears still lingering on your cheeks, there is hope. They will be playing a couple more shows in early June at The Tote in Collingwood and The Northcote Social Club. In the meantime, satiate your withdrawals by following them on sound cloud:

3 ½ out of 5 cool beans.

*This could be due to the authors artistic licence but if you want to double-check if they’re THAT good then please wander over to their aesthetically friendly Facebook page:


Northlane at The Chelsea Heights Hotel (May 1, 2015)

Urban Spread presents
with guests Hellions and Storm The Sky
9:00pm, Fri 1st May 2015
Chelsea Heights Hotel, Victoria


Northlane brought their high-energy live show to Melbourne’s outer-south-east suburbs in an epic of an intimate show at ‘The Heights’ for a crowd of die-hard fans on Friday night. The Sydney-based, beard-wearing hardcore heroes laid the smackdown with their highly-technical and uniquely progressive brand of metalcore. With them were fellow Aussie rockers Hellions and Storm The Sky.

To clarify a few things for those unfamiliar with the genre. Screaming is an incredibly passionate vocal style that stresses the vocal chords to produce a loud and I guess ‘raspy’ sound that helps convey very powerful emotions. The sub-genre ‘metalcore’ is an often high-speed, high-intensity, heavy sub-genre (often stereotyped as ‘screamo’ due the proliferation of screamed vocals) in which elements of hardcore punk meet heavy metal. Also note that I am writing this review as a long-time fan of the band, and my fandom will bleed nicely into this hopefully informative review.

The event was put on by up-and-coming promotion company Urban Spread, purportedly specialising in party-style gigs for the outer suburbs, inspired by the gig scene of the 70’s and early-80’s that saw Midnight Oil and AC/DC tour the suburbs on weeknights for the working class. This was evident.

Enter The Chelsea Heights Hotel. A staple venue in the town of the same name, the nightclub section (billed as The Heights) immediately struck me. It was a large, neon-lit, three-platform room with a bar, stool seating, VIP area and double-disco-ball-sporting dancefloor (comparable to Melbourne’s Billboards club, though larger, cleaner and ventilated properly). Alcohol was also very reasonably priced. I have no qualms with the venue, other than that it was only just over half-full.

It is at this point I want to acknowledge the mixing. At metalcore shows, mixing is more important than anywhere because with the incorrect mixing of performances, the intricacies of the bands’ instrumentation quickly becomes a blob of white noise due to the heavy nature of their music. I’ve seen great mixing and pitiful mixing in my 100-odd of metalcore shows and this show was truly stellar. Perfect mixing allowed people in any area of the room to hear with clarity. This was a true standout show for this very small, but substantial reason.

Despite the fact that many—if not most—of these metallers made the road trip from around Victoria to attend, cheap alcohol made the event feel, look and smell like a party… Okay, so that summarises most rock shows, but this one differs in a very distinct way: the galvanised fandom.

UNFD (pronounced Unified) is a Melbourne-based promotion company, management service and record label with a cult following. Though, I see it as a community. Some of Australia’s best hardcore bands are signed to this label including the likes of The Amity Affliction, In Hearts Wake, Deez Nuts and the bands of tonight’s bill. The company recently held its own festival in rural-eastern Victoria, aptly named UNIFY, sporting a line-up of bands exclusively of the UNFD bands. From this, the supporter base for the label and the bands was manifested. A true sense of community is held amongst fans of these bands and I felt that at this show, as with all the others. Seemingly angry music can often be the happiest and these Aussie bands typify this.

The lights dim.

The youthful six-piece Storm The Sky take to the stage with gusto, splicing brutal and ‘chuggy’ verses screamed by their first vocalist Daniel Breen with highly-complicated and inspiringly-melodic choruses sung by heart-throb Will Jarratt (who had a cheer-squad of his own on the barrier). A brilliant set was diminished only by the poor turnout and almost empty moshpit.

With the bar set high, chaotically grungy and heavy is the best way to describe the set played by rap-metal-punk-core band Hellions. The band is gaining traction as part of the aforementioned UNFD brand and their set was laced with high energy songs, and mellow, humorous banter in between. There was this one guy setting off fireworks somewhere in the room. They were lengthily-dispersed, but louder than the bands and made for some interesting, well-spirited jokes made by Hellions vocalist Dre Faivre. I was not a fan of this band before their set. After, I was turned.


The awe-inspiring vocal of Marcus Bridge’s screamed intro to ‘Quantum Flux’ echoed beside the deafening cries of fans delivering the opening line to Northlane’s quintessential track. Northlane had arrived.

Marcus Bridge performing with Northlane in 2014 (Photo: Talia Farber Photography)

Marcus Bridge performing with Northlane in 2014 (Photo: Talia Farber Photography)

Mic-man Marcus Bridge is a recent addition to the band, replacing the recently departed and beloved original vocalist Adrian Fitipaldes. Unlike previous singer changes in the world of music, fans of Northlane never hesitated to throw all of their support for this guy. I witnessed this at UNIFY where fans took to social media after the set, bearing the hashtag #marcusfuckingbridge. Previously, it took Marcus half a set to reach his stride. This is because Adrian laid vocals on the band’s two albums, whereas Marcus has only released one single with the band: Rot. Tonight however, Marcus Bridge gave the performance of a lifetime, surpassing the expectations of fans everywhere. Looks of excitement and pride struck the faces of strangers looking at each other in the crowd, acknowledging this bloke’s pure talent.

The mosh was brutal. Though spread openly due to the abundance of space, a beautiful and friendly congregation of tie-die coloured moshers birthed an awesome sea of flailing arms, legs and heads – dancing the only way they know how for the band. Those who fell over were picked up by everyone in the vicinity, those who were in danger were escorted out by friendly fans and a clear way was made for the one guy who left with a potentially broken nose (dripping like a tap) and one hell of a cheeky grin.

I was fortunate enough to see the majority of the show in front of lead guitarist Jon Deiley. Simply put, the guy is an octopus. His feet control 6 adjacent guitar preset switchboards constantly throughout all songs and breaks. He would have hit those switches more than I hit keys in this article. His hands take control of a seven-string guitar of which he plays in note-for-note perfection. I was mesmerised for the entirety of the set. Particularly interesting were his frighteningly eerie facial expressions, wide almost menacing eyes peering through his fringe at seemingly nothing. It was all very cool.

Northlane's Jon Deiley in 2015 (Photo: Scott Daniel Cooper)

Northlane’s Jon Deiley in 2015 (Photo: Scott Daniel Cooper)

When Bridge signalled the beginning to ‘Rot’ (the only song he has released with the band) the place erupted. It was without a doubt the most exciting of all the songs played by the band. Vocal melodies to-and-fro like a river with the unnerving chiming of guitars overwhelming the tone of the song.

The focus was very heavily on songs from their Singularity (2013) album, constituting 8 of the band’s 14-song set. As an older fan, some more Discoveries (2012) tracks would have made for a more well-rounded set, however the band’s current setlist did all their releases enough justice to keep even the most stubborn fan content.

The band closed the set with an oldie: ‘Dispossession’. The opening lick of the song is the calm-before-the-storm because when the song kicks in, the bass drop sends fans into a frenzy. The song is laced with brutal breakdowns and djent-esque verses (‘djent’ being an onomatopoeia for the sound made by the specific palm-muting technique on guitar). I was (happily) bruised by the end of the first chorus.

“Cast aside the fear of reality, face the fucking world!” — the lyrics accompanying the breakdown of ‘Dispossession’

Fans calmly left the venue with hoarse voices, weakened leg muscles, sweaty hair and wide grins.

Of the five times I’ve seen the band, this was indisputably the best form I’ve ever seen these 5 guys in. I already can’t wait to see them tour the new album after July.


Northlane’s latest full offering Singularity is available on the web and at most good music stores.
Their new single Rot is online on all mediums. A new album is pitted for release in July.


Set times

9:30 – 10:00    Storm The Sky
10:30 – 11:00  Hellions
11:30 – 12:30  Northlane


Northlane Setlist

Quantum Flux
Nameless (previously unreleased, ambient interlude)
Dream Awake



I was not sponsored or paid to write anything in this article.

The photos in this article were not from last night’s show.

Boy Wonder at NEXT for Radio Monash

Photoset: Boy Wonder at NEXT! 19/03/15‏

Boy Wonder are a Pop Punk band from the South Eastern suburbs of Melbourne.
Expect a beautiful blend of melody, gleeful breakdowns and beards in the energetic six piece!For fans of : Blink 182, Underoath, Taylor Swift (Not even kidding) .
Boy Wonder will be playing a Green Day tribute set at Bang! on the 18th of April, with supporting acts Coastline, Gateway To The Sky  and Blindeye. Come down and party!
Bombay Bicycle Club Concert 4

Bombay Bicycle Club at the Forum, Melbourne


A Familiar Kind Of Fix

Bombay Bicycle Club at the Forum Melbourne, Thursday 26th September

Coming off the back of the festival circuit following the release of their new album, Luna, Bombay Bicycle Club didn’t seem any worse for wear after their lengthy stage tour. “We’re so glad to have a crowd to ourselves again”, proclaimed a high-spirited Jack Steadman, vocalist and frontman.

Bombay Bicycle Club Concert 1

Steadman’s musical versatility shines live

Presiding over the enraptured audience of the Forum, the Roman decor an elegant background for the at ease and on point Londoners. To label the group with a specific genre would be a daunting task; over the course of three albums the band has experimented with folk, indie rock and world music. Their latest release doesn’t seem like an evolution, but a cumulative experience of how diverse this band’s tastes can be. And that comes across especially so live, with the band blending between songs such as the electronic synth pop hit Carry Me and the eastern world music influenced Feel, BBC’s performances feel confident and effortless. The crowd responding accordingly to the mood dictated to them, BBC conducted a journey through tracks ranging from their debut album to their latest release, with their well-know debut singles still holding a fresh feeling to this day. That can only speak for the showmanship and confidence that a quality group can pull off.


“We promise it won’t be as long before we’re back again, this time”

-Jack Steadman


The opening sets by guests East and City Calm Down, though sometimes hit or miss, were enjoyable and vaguely interesting. East, a female headed neo-rock outfit, took stems from the likes of classic and grunge rockers while embracing the modern rock femme fatale such as the likes of Paramore or The Hundred In The Hands. Sometimes East felt slightly unsure of itself, but overall carried out an enjoyable gig, yet not entirely memorable. Following up on this were four piece electronic group, City Calm Down. Strands of Bryan Ferry, The Cure and New Order were thoroughly apparent in the band’s songwriting. And that’s not a bad thing. The band pulled it off with a nostalgic feeling that was entirely pleasurable. Definitely a highlight and one to watch.

Bombay Bicycle Club concert 3

BBC’s live performances portray a confident and playful group

Overall, it’s good to see BBC’s hectic festival circuit hadn’t left a noticeable strain on the band. The crowd seemed to be in the groups’s hands, singing the lyrics with ease to almost every song. And BBC responded in turn putting on a show filled with energy and sincerity. “It’s been a couple of years since we’ve played here, Melbourne,” frontman Jack Steadman smiled to an adoring crowd, “We promise it won’t be as long before we’re back again, this time.”

Bombay Bicycle Club Concert 2

In the midst of a high energy show, a low-key number brought about an intimate moment between band and crowd


Photos courtesy of Gabriela Degwitz (



St Jerome’s Laneway Festival 2014


This is the first in a (hopefully) series of gig/album/festival/night out reviews for you denizens of Radio Monash. We are back in the criticism game. Before we start: yes, I know this is an extremely late review, but we have had some issues with our website we have wanted to sort out before we started uploading new content.

Fuck, I’m going to miss Run the Jewels… a night at the Mercat had left me a broken, hungover man. The fear of missing Killer Mike and EL-P’s performance throws me out of bed and onto a train full of op-shop party shirts, high-waisted jean shorts and tinnies of Koppaberg… there is no doubt where I am going, I am going to Foot-as-grey, for the 11th iteration of St Jerome’s Laneway Festival.

I want to catch Run The Jewels so much I skip my pho, and head straight into the festival towards the gorgeous Red Bull Future classic stage. And let me tell you what, it was the right decision to make. With its focus on individual delivery, hip-hop needs a sense of enthusiasm and energy to come off well – and I have never seen two guys so hyped up to be rapping to a bunch of sweaty white guys at two in the afternoon. Flying through their eponymous album (and announcing a second to come this year), these guys seem to be having the time of their lives, even inviting a rabid fan, Chuckie, onstage giving him his 30 seconds of fame before he couldn’t take the hint to leave and had to be escorted offstage. Chuckie, you are a total flog. Over a tinnie of pale ale, I wonder if they were put on too early, but they set a great mood for the rest of the day.

Rushing up to catch my friend at the Moreland St stage, I catch the end of post-punk revivalist grrrls Savages. The energy and excitement of RTJ is really highlighted by the uninspired act of Patti and Robert Smith’s love children. Maybe it’s the sun, but they just don’t seem into it at all.

For this very Australian weather, we feel somewhat obliged to catch the very Australian band Dick Diver at the amphitheatre of the River Stage (sidenote: the festival setting was pretty on point for all stages except the Dean Turner Stage which felt pretty cramped). They play lovely inoffensive dolewave, providing some sense of escapism to the over-pressured Gen-Y crowd, who presumably would like to be sitting in their underwear smoking bongs in an inner north sharehouse all day rather than working unpaid internships. But all in all an enjoyable set, and personal grumbles aside (Dick Diver distracts Al Mofort from releasing more music with Total Control Or Straightjacket Nation) it’s great to see these guys succeeding.

For more fun fun in the sun sun, we catch the end of Kiwis Unknown Mortal Orchestra. Not much has changed since they were here for Meredith – nice psych-ey jams to roast in the sun to (next year more shade please) with a Cascade Pale Ale in hand (MB’s next year please)

At this point I retire to sit under the bridge with some hot wings (props to Laneway for giving us decent food instead of your usual festival fare) to watch the stream of people attempting to sneak into the festival – the Chinese restaurant back entrance of the past has been replaced with the train line jump. The security kept it mainly under wraps. My highlight of the festival nearly went to seeing the guy who made intense eye contact with the guard for 30 seconds before doing the (short-lived) mad dash.

The brutal sun was the downfall of Mount Kimbie as well, with the sun sucking energy, and providing too harsh of an environment for this reviewer. Shade is found, festival buddies are made – they force me to write ‘too many bitties’ in my notes for the act (miss u Joc). With a set leaning towards more recent material, the crowd lapped it up, collectively losing their proverbial when King Krule came on stage then on top of the crowd, with the energy retaining for a droning, heavy rendition of Fields off their debut album Crooks and Lovers.

Earl Sweatshirt seems to outwardly dislike the audience, with much antagonising but it plays well in part of the Odd Future shtick. His set was mostly a whirlwind of verses from the guest-heavy Doris, with the obligatory Earl from his debut mixtape – setting the crowd off into a total frenzy. He might seem like a prick but goddamnit, this kid can rap. Last sighted Heinekin in hand with some randoms in a Footscray Apartment, living the dream.

Maybe because it was because I had listened to Float On five times in a row in the morning, or maybe it was because he had cracked the shits because of the blown out speakers that shortened his set by around 15 minutes, but there was a vibe that Detroit party boy Danny Brown he just didn’t want to be there, and he was putting on his jester act because he felt obligated to. His set lacked anything from side A of old, disregarding the darker side of his person. But hey, it’s a festival – his party game is strong and you cannot compete with how infectious he is live.

Cue a mad rush back down to catch the ambient rave of Four Tet, which could be summed up in one smiley  :’)

Nobody does an ambient rave like Kieran Hebden and he was a perfect way to finish off the day.

All in all, Laneway was a success – the people putting the festival know what they are doing, they know their audience, so there is well curated grounds, food, drink and lineup. It is possibly the only one day festival where the fact it’s a festival won’t stop me from going.

Review – James Maine

Photography-Aaron Webber

Mad Props: Great food and great drinks. Good festival grounds, great linneup, No Bogans!!!

Pick up your game: Five dollar bottles of water are bullshit, especially on a 36 degree day, some minor sound issue

Would I Return: If there was a good lineup, without a doubt. I was pleasantly surprised by the whole experience.