A tangible vibe of positive energy
and the playful banter of jovial conversations were both felt and heard
upon entering Spectrum for another EP launch. As has become routine,
your reviewer made a beeline to the bar for a glass of Tooheys; fellow
comrades in tow, counting coins on the counter for long necks. 

First on the bill was Sleep Debt
from Sydney, a three man band that - despite their name - did everything
but put one to sleep. A fine balance between relaxed, steady beats
and hard-hitting notes, this band mastered their style down to the T. Their head-bopping
tunes worked the crowd into a grooving frenzy, the guitar riffs of Daniel
Rea leading each song, with Mikey Nelson's bass and Pete Beringer's
drums feeding off the lead. By the end of their set, and as a closing
to their last song, both Rea and Nelson were locked in a vigorous guitar
shred off, neither wishing to abate from the ferocious speed at which
their fingers abused their guitar strings, the crowd fueling the fire
of the epic battle unfolding on stage with screams and yells of delight.  It was an astounding finish; the adrenaline effects lasted well throughout
the entire break. 

The Go Roll Your Bones was
next on the line-up, another band from the local Sydney scene. The steady
slaps of a crimson tambourine started off the first song of their set
which went from safe beats to absolute insanity faster than a racehorse
cares to run from the glue factory with speed rockets attached to its
arse. The four-piece packed a lot more energy than seemed possible.
Their garage sound with long riffs, an unfaltering bass line and rapid
drum beats made for an onslaught of songs that had frontman Geordie
throwing himself around the space. He climbed the speakers, laid on
the floor in the crowd and was on bended knee alongside band member
James, who skillfully ripped piercing notes from his guitar. Two microphones
were used to bear the brunt of Geordie's vocals as he tore through the
songs with a certain grit. The band completely let loose during the
ending notes of their set, the members coalescing into a tangle of bodies,
instruments and hair with a microphone stand flying off stage and hitting
a stunned crowd member on the noggin. An incredible set from the boys. 

Playing to a full house, headliners
Zeahorse did not disappoint, rounding out the trio of Sydney bands
that ripped up the stage that night. The four members walked on stage
to yells of appreciation, frontman Morgan Anthony looking fairly dapper
in his long, patterned coat. 

The speakers were cranked up to cochlear
obliteration levels as the force of the notes hit your reviewer like a fist
to the face. Their songs exuded light and shade, all the meanwhile packing
some serious punch. Zeahorse
incorporates the brutal brunt of garage punk with lashes of psychedelic
guitar chords, producing an interesting fusion of sounds sending
the senses into overdrive. The steadfast notes of Ben Howell's bass,
Julien Crendal's powerful drum beats, Anthony's rough and raw vocals
with the stirring wails from Max Foskett's Baritone guitar makes for
a beat that is heavy, potent and drug-like in its effects. 

Zeahorse packed more energy than
a nuclear bomb. Anthony's head-shakes put the exorcist chick to shame
whilst fellow band members sweated up a storm. The feedback from the
speakers ricocheted off the walls only to smack the audience right in
the ears, heightening the overall experience of intense electrical power.
Such was the charged atmosphere of the venue, the singer dove straight
into the drum kit by the set's end, the drummer completely unfazed and
continuing to drum with twice the zeal.  Zeahorse should definitely
be seen live, as the only way to experience the full extent of their
sound is when the vision of the boys' raw energy are assaulting your
eyes and their powerful chords are raping your ears. Coming away half-deaf
should not be a surprise; it should be expected.