CHECK OUT OUR COME TOGETHER FESTIVAL PHOTO GALLERY FOR ALL THE DAY’S ACTION.

Forget drugs – music and theme parks are the best things to get adrenaline hits from. Think little kids on crack and you’ll have an idea of the pandemonium chorusing around Coney Island for Luna Park’s Come Together Festival. Punters could move freely between two main stages as the lack of safety barriers allowed the audience the freedom to enjoy what was a jolly good day of fun, to quote good old Mum. The best addition to the festival came in the form of the Filth Festival, which offered up a grittier, dirty and altogether angrier sound that drew the more seasoned festival-goers.

Starting the day with The Jezabels, lyrics of hope and youth got everyone reminiscing as they took us to “back in the day” with their moody and longing songs. The classical training of pianist/violinist Heather S helps to add a formulaic yet lyrical aspect to the edgier sounds of guitarist Sam L, although it would have been nice to see both let go solo-wise a little more. They’ve really tightened their sets this year and put a polish on their older, rawer edge, which really added to older favourites such as Norah’s Ark.

Former Child Stars lived up to their name and could certainly strut – to use another Mother phrase, they were dressed to the nines. Eager to prove their music matched their looks, their set seemed to lack the musical depth of their fashionista styling, with underdeveloped, simplistic riffs being the basis of most songs and a lack of ‘togetherness’ on stage showing off individualism over a band credo.

It’s always nice to find a lack of pretension in the musical world, and certainly rare – and it’s great when you discover it in a totally new band. The John Steel Singers managed to offer something refreshingly different as one of the top three picks for the day, with a relaxed and cool-as-cucumber vibe to the “I’m-too-cool-for-school-I-wear-leather-jackets” pomposity of the Sydney scene. Serving up a thick and textured set that was surprisingly not bogged down by its own density (the use of horns and the older, Doors-ian sound of the keys assisted here), they mix the groove of Cat Empire with the lyrical whimsy of the Audreys. It would have been good to see more from the horns, who were, as (unfortunately is) usual, relegated to a support slot at the back of the stage. By and large, however, it was great to see an act move away from the ‘street cred’ of ‘indie’ that many of the youngsters had come to ‘be seen’ watching. Instead they offered a well-rehearsal musical malady blending cheekiness with brightness to create something a little bit sparkly.

Sound Casino were the first Filth Tent act, two hours into festivities. A good opener for the more gravelly sounds of the stage, while catchy and cute-looking, nothing really memorable was offered. I hearted I Heart Hiroshima. Kicking around the block for a while now, their new material showed off how understatement can be a statement. Drummer/singer Susie Patten pulls all the attention with her wise-cracking, Juno-esque mouth (“soz babes” is her apology for mid-set snare issues) and the intensity of her playing is inspirational to watch. Did I mention she may convert my sexuality?

Speaking of drummers, Fait Accompli offered excitement back in the Filth Stage. Drummer ‘Mr. Ray’ infected the Nirvana-on-(even more)-heroin punk sound that this act carved out with just a little reggae touch of groove and funkaliciousness. This intense show was the full force of what good music should be: transcendental and able to take the listener away to somewhere altogether better. Sheer raw punk from Sydney has not offered so much for a while. Second of the three best acts for the day.

Little Red instead offered youthful fun. Borrowing the aesthetics the sound of Beatlemania circa 1965, Little Red’s pop ditties were merry to watch and bop to. Snaps to drummer Taka Honda who, grinning away, channeled the anime drummer in Daft Punk’s One More Time clip. Like the John Steele Singers, Little Red show off their happy-quirky-feel with pride.

Yves Klein Blue (Filth Stage) played another impressive set after wading through a slow start. It is good to see the boys develop individually as they continue to gather attention, with guitarist Charles Sale injecting more of what seems to be a blues background to his solos (like Fait Accompli, more funk in the punk). Tiring of a popular single is a well-known route to go down for a band kicked into the spotlight, so it was no surprise to see the boys so bored of Polka. They swiftly moved on to heavier and denser numbers to finish off with their trademark unyielding intensity and savage masculinity.

Ghostwood are consistently GREAT. Final of the day’s highlights. Fantastic to see live, their ethereal musical scenery was a nice change from the consistently lyric-based bands of the day. Their true originality is highlighted only in the scope of sound heard at the live sets, with their recorded visions of faraway, wraithlike delicacy not quite capturing what a show highlights. They channel earlier Pink Floyd in their determination to create full sonic paintings. Like Fait Accompli in this vein, these boys are best as an experience done live. Hilarity ensued from the Ian Curtis rendition dance set (see video footage) that saw the tambourinist literally quaking in his boots. Worst of all? Precociousness – they are all under twenty. Fuckers. May Britain welcome them grandly on upcoming tour!

The undercurrent of angst within Dappled Cities’ dreamy, pixie songs mirrors Ghostwood’s simpler sounds. Singer Dave Rennick used falsetto to perfection in classics such as Vision Bell. A nice, dreamy set. British India were anything but nice, channeling an angry Alex Turner-esque masculinity from frontman Declan Melia that was appropriate for the lyrical downtrodden-ness of numbers such as Council Flat. Fierce stage presence matched by simplicity in riffs again reminded the listener of the Arctic Monkeys feel.

A jump in stage age by a decade or more took place as The Thrills graced the stage, with a lingering stadium sound permeating their set. The grandiose nature of their noise showed off arena style resonance as they slowly built to a climax. Older punters seemed to really enjoy this comfortable ease and the opportunity to see a great at work, but the British India energy had worked off the youngsters.

A lot better were VHS or Beta (third Mum joke – awkward). Like !!!, VHS or Beta combine the harsher sounds of rock with the simplicity of techno-electro sounds to create a complimentary combination that is highly danceable. Memorable ditties resonated throughout the main stage and through the Ked-clad feet on many CS’ing on the DF. Finishing with the well-loved Can’t Believe A Single Word was wise. Faker showed off their egos with the huge letters they placed onstage to show off their name – just in case we hadn’t known how to spell it already. Thanks guys. We left after one song. Frolicking, fairy floss and fun – what else is there? Kudos to all involved.