M
idnight Juggernauts are a band whose reputation is
determined almost exclusively by their live performances.  Whilst other bands rest upon recorded work,
the international lore of the “Juggers” speaks of a truly unique and
enthralling set. So was this to be the case in Sydney?

Midnight Juggernauts assembled a somewhat eclectic duo of
warm-up acts. Kirin J. Callinan
performs to a disappointingly small crowd, however leaves a lasting impression
on all those present.  Having separated
from Mercy Arms and on hiatus from
his duties as Jack Ladder’s
guitarist, Kirin is free to explore the entire scope of his creative
intuition.  In all truth, he is a
somewhat confronting performer at first glance. 
Everything about him is provocative, and in a profoundly stunning
way.  From the always intriguing clothing
to the way he struts, marches and writhes whilst singing, Callinan seeks to
present himself in a manner which cannot be ignored. 

However the initial impressions of him as a vaudeville
sympathiser are rapidly waylaid as his innate musical sensibility is made
apparent.  His tracks are slowly
developed with loops and pedal effects, establishing a soundscape which both
contrasts and compliments his deep, melancholic moans.  Presenting new material from his yet to be
released debut album, Kirin shows depth in his style of music which demands to
be listened to with quiet contemplation, rather than in competition with the
noise of a swelling crowd.  The only
disappointment would have to be the absence of his utterly incredible “The
Toddler”, a track co-written by Tim Rogers (Jack Ladder) which features lyrics
which must be heard to be believed.

Bringing the night firmly into the mainstream are perennial
favourites Dappled Cities.
Continuing the theme of new material, the band plays a set which is largely new
tracks.  Whilst this means they do not
receive their standard ebullient reception, the songs are enthusiastically
received.  This was the second time I had
heard many of the tracks, after a smaller performance a few months ago at The
Vanguard, and this repeat listening confirmed my previous feeling: 2011 will be
a big year for the Dappled lads. 

Their new material seems to be derived from a darker place,
and where their layered sounds have previously provided light and energy, they
now create a heavier, deeply atmospheric sound. 
In this way, the new tracks serve as a counterbalance which you never
previously thought was required.  As tracks
from 2009’s Zounds are intermingled
with their most recent work, Dappled Cities present a set in which diversity is
their strength. The familiar, upbeat Dappled as heard in “The Price” is even
more enjoyable relative to the contrasts in the songs which preceded it. They
have truly transcended their “indie-pop” tag and should take up residence in
their own unique sub-genre.

A packed venue dwarfs contrasts a stage barely covered by the members of Midnight Juggernauts, however their sound and energy more than compensate for this imbalance.  From the opening track, there is almost a wave which passes through the crowd and never ceases until they leave the stage. 

Minimalist in their crowd engagement, the band focuses solely on the music and despite a somewhat barren aesthetic, their performance is quite hypnotic. Most notable is Daniel Stricker’s drumming- his angular and precise movements are unlike most other drummers and it is a visual experience.

The band play a setlist certain to keep fans happy.  However there is quite an interesting distinction between the work from Dystopia and Crystal Axis.  Whilst their earlier material fits smoothly into the more electro classification, their new work is more lyrical and emotive.  This difference is even more marked live, and allows the set to ebb and flow in a way which enhances the interest of the crowd.  Older favourites like “Tombstone” are received by a mass of writhing bodies clearly enjoying a trip down memory lane.  Newer songs are more soulful with “Vital Signs” almost a slow groove relative to the throbbing impact of those songs it is sandwiched between.

Midnight Juggernauts play with almost clinical precision, and whilst this ensures a faithful live replication of sounds, it does feel a little like music by numbers at times.  Perhaps this is their style, and it isn’t necessarily a criticism.  However after the preceding two bands provided sets which were intensely personal and engaging, this distanced performance is notable. Nevertheless, the band certainly offers a catalogue of hits which more than sustained the interest of a packed Forum.