The orange red glow of the room reflecting
off shiny disco balls and the antique chandelier generated a subtle
fuse of modernity and retro chic. Spectrum attracted a small gathering
at the beginning of the night as Sydney band, Joysticks, took
the stage. Their laid back dark pop sound had people toe tapping and
head bopping to the beat. The crooning bass line opening of Purple
Berries generated an easy-go mood - smooth and suave - as the first
round of drinks worked their way around the room. Radiation is
a lot darker, the bass tone, again, working and pushing the song. Hints
of Joy Division can be heard here and there amidst the sound. Great
local band with an overriding bass line that just works. A decent opening
act for the night. 

Sauntering on stage wearing dark
shades, frontman Cyrus from Swamp Woman launched straight into
the first song, sending the crowd into a hip swinging frenzy. Their
beats are reminiscent of old school rock 'n' roll, twist and shout tunes
from the 60s with microphone to suit; harmonica and tambourine provided
an ample bluesy vibe to their retro sound. Can't Be Satisfied
pushed out an up-tempo beat you cannot help but stamp your foot to.
Had there been a bale of hay and a pair of silver spoons - hell - your
fellow narrator would have been clacking the spoons 'til dawn. The singer
worked the crowd throughout the entire set, clambering onto speakers,
quaintly lighting a cigarette on stage and finally stripping down to
just pants as the last song came to a close, all the meanwhile throwing
shapes left right and centre. The crowd lapped up the tunes, showing
their appreciation with a solitary pat on the back and a tap on the
lead singer's head as the front of the audience dispersed for a break. 

A quick smoke on the balcony, another
drink in hand, and this reviewer was sufficiently set for the headlining
act. Chicks Who Love Guns took to the stage a garage grunge sound
that had the audience hooked as the chorus of Somebody Poisoned The
Waterhole came to fruition. A subtle dash of The Vignettes and The
Horrors can be picked up from the beats the boys were pushing out, with
Cass screaming eagerly into the microphone if only to keep up with the
energy of the crowd. A respectable sized mosh had already begun forming,
cutting a space on the dancefloor reserved for the highly enthusiastic.
Bodies were thrown hither thither as the notes of Braindead took
its toll, the audience eagerly lapping up the beats of the drums and
guitar that were all grime and edge. Take No Stock emanated a
slower and steady rhythmic sound across the room, reaching the back
of the crowd where bodies swayed and drinks spilled. The opening lyrics
of Vomit On The Dancefloor threw the crowd into a head banging
hysteria. The last few minutes of the song bore witness to a cavalcade
of groovers invading the stage as the boys let loose with quick guitar
riffs and an onslaught of pounding beats from the drums. An energetic
close to the evening. Great work boys and congratulations on the EP.