 |
|
The chilly evening did
little to deter punters from The Metro last Saturday night where Tame Impala
played to a sold-out venue as part of the Sydney leg on their album launch
tour. The early arrival of music revellers in packs of twos, threes and fours
laid testament to the impressive bill that boasted local band The Laurels and fellow
Perth musicians The Silents as support. Front of bar was the site of much
kinetic energy whereby money exchanged hands. Alcohol was pushed into open
palms whilst cordial conversations were heavy on the lips of many. Beer brought
before the stage provided ample company as the house lights dimmed and guitar
twangs filled the stagnant airwaves.
Sydney band
The
Laurels
brought a wave of aural assault to the venue with lashings of melodious
guitar feedback cranked to intoxicating frequencies. Like a sensuous mixture of
My Bloody Valentine and The Jesus And Mary Chain injected with a psychedelic
fix, the four-piece dished out the shoe-gaze in generous portions with an indulgent
side of screeching hooks to complement the sonic meal. “A Rival” enticed the
senses with heavy doses of guitar feedback and ringing chords. Smooth harmonies
entranced and subdued; listeners were thrown into a reverie whereby
ears and mind became aurally and mentally fixated. “Radio Daze” started out
with acoustic strums before incorporating the alluring chords of the electric
guitar. Vocals from Luke O’Farrell and Piers Cornelius coated the track in a
lush pop glaze, the harmonies again possessing an uncanny ability to draw in
and overwhelm the senses. The Laurel’s compelling sound makes them an act worth
seeing live, if only to experience the dreamy, atmospheric affair induced by
the potent feedback of their strings.
Guitar warbles
returned to the stage in the form of fellow Perth locals,
The Silents
. Endowed with a dark
garage sound, the four-piece drowned the venue in rocking riffs and edgy vocals.
A striking guitar chord initiated “Little Lost Girl”, after which a smashing
drum and bass line quickly built the song. Lloyd Stowe’s vocals, not dissimilar
to Craig Nicholls, wailed over the speakers – bewitching and compelling. Audience
members responded with head nods and foot taps, eyes never straying far from
the band of four on stage. The thumping beat of “Nightcrawl” showcased the
band’s lighter side. Melodic harmonies exuded a Beatle-esque sound;
catchy hooks and ripping riffs aplenty. The boys’ energy never wavered so long
as the speakers were pulsating with their jams. The growing crowd made a beeline
towards the front, buzzing in tight knit groups and revelling in the hypnotic guitar
chords pushed out in quick succession. The Silents played a tight set; their
beats ingested with ease. Many were left salivating for more.
Barefoot and brazen,
Tame Impala
walked onto stage complete with roaring accompaniment from the
crowd. Ripping into the opening chords of “Desire Be Desire Go”, it took naught
but a nanosecond for punters to recognise the familiar beats off the first
track of their EP. Trippy projections of moving landscapes and kaleidoscope
images transported punters into a different mental realm. Kevin Parker’s
echoing vocals only heightened the otherworldly experience. Guitar pedals were
exercised beyond measure; looping feedback and psychedelic chords seamlessly
blended together songs. “Why Won’t You Make Up Your Mind” took to the airwaves
an entrancing element that compelled audiences to sway precariously. Playing tracks from their new LP
Innerspeaker, “Alter Ego”, “Lucidity” and “Jeremy’s Storm” were polished off in
much the same fashion – with a cavalcade of drumbeats, guitar riffs and smooth
vocal work. Talking to the crowd at large, it was difficult to decipher the
boys’ speech as the feedback mechanism continued to warp their voices. Perhaps
a conscious decision on their part to enhance the psychedelic effect, it was
nonetheless a challenge trying to decrypt their address.
A faint glowing light
in the crowd made privy to an observant few the presence of a lit cigarette in
the vicinity. Exchanging knowing glances, the perpetrator continued to puff
away without raising suspicion of those outside his immediate circle. Back on
stage, the projections had increased in speed as “Sundown Syndrome” blared
throughout the venue. Hands were raised to the ceiling as the song evolved into
an extended jam, distorted chords washing over open ears. Crowd-pleaser
“Solitude Is Bliss” saw the formation of a minor mosh as limbs were thrown
hither thither. “Skeleton Tiger” and “Half Glass Full of Wine” instigated just
as much uproar, the latter reigniting the original energy that had come off the
back of their debut EP. Rounding out their set, Tame Impala invited the boys
from The Silents back on stage, whereby a collaborative effort of “I Don’t
Really Mind” had spectators grooving to no end.
Collectively thanking
the crowd, the two bands exited the stage, but not before striking an elongated
guitar chord and placing it strategically by an amp. The feedback that
consequently occurred stretched on for ages, as did the audience who yelled and
hollered for an encore. Minutes ticked by and still the boys made no
reappearance, feedback still warbling over the speakers, punters still
roaring intently. As the noise distortion died, many gave up and left the vicinity. The
lights had come back on and with them, the house music. What occurred
thereafter was therefore surprising to say the least. No more than a quarter of
the crowd remained when Tame Impala ran back on stage with The Vines’ Craig
Nicholls who accordingly ripped out the opening notes to “Get Free”. A cover of
the song went down a right treat. Those who stayed back tore up the dance floor
while Nicholls wailed down the microphone in close proximity to those up front.
An appreciative applause and smiles all around concluded the evening as Tame
Impala exited the stage, The Vines’ frontman in tow. A sweet treat for the dedicated few who remained behind, Nicholls was to the night as a second helping of dessert is to a meal - a little indulgent secret.
