At some gigs the lineup doesn’t seem well thought out; genre’s clash, fans of one are disappointed in another and the discerning music lover wonders who in buggery hell put it all together. This show at the Evelyn was one such event.
Ancient Free Gardeners have had positive press and despite the drummer’s dodgy moustache there’s reason to be optimistic. Their opener floats past with little fanfare, but Mind Race opens with strength and passion: a pop/rock meander of sonic depth and story telling. My Soft Bitten Thumb is a showcase for awkward-looking singer/songwriter James Milsom. Warm, clear vocals cruise above heavy keyboard and cymbal: his heartfelt crescendo calls to mind a Tim Rogers interview where Our Tim claimed a U.S. label had pronounced his songs too wordy.
The opening gallop of Bernie conjures early Greenday and while there’s certain erratic underlay, it’s an absolute standout. When Yours Are All Returned is perfect for a sleepy Sunday arvo; Love Like Law rains a spiral of lyrics, though the keyboard parts could find a depth to compliment the song’s complexity. There’s a radio heartbeat in I Say I See,—it’s probably too intelligent for the general listening public— while Innards Out is another fantastic display of Milsom’s vocal control and range. Pleasantly original but not entirely unfamiliar: great harmonies too. Beautiful glimpses of everyday moments, stretched heartstrings and car trips on overcast days: with the sweet Australiana of embryonic Paul Kelly in Milsom’s sublime songwriting, these boys would sit nicely between your Even albums and Candle Records boxed set.
Gears change dramatically as Sadhana take the stage. Acidic heartbeat guitar and dirty, distorted bass hunch over a ticking cymbal introduction, maintaining a plane for drummer James Mileto to launch from. Guitarist Paul Reid is lightning over James’ stormy ocean. A soft start for the curiously named Gavin promises danger: guitar riding high on the fret while Rients Huitema, whose backlit dreadlocks resemble a bunch of livened ropes, lets the bass practically ooze. Amazingly tight: like jazz for metal-heads.
A soundscape of terrifyingly vocal bass and guitar-like screams come next. Churning and epic, the music is a film score: Mad Max at night, crazy bikers, a hint of green tea. Silhouette introduces animalistic echoes, twilight chimes, cyclic guitar and brooding, melodic bass. More up-tempo, the changes are masterfully controlled, unlike the dreadlocks: now completely unleashed as dark heavy drums, like thunder, are book ended by flashes of intense cymbal and hi-hat beats. The mallets come out for Verdant Scars: a cymbal assault and Metallica-esque intro borrows quietly from Rage Against The Machine. The lighting is specific to the group, punctuating sonic conversation between the bouncing bassist and spotlighted drummer. Opening to full pelt drive, the skeleton of my armchair vibrates before Sadhana regresses to sensual groove and sobering silence.
More funk parentage in the closer: a bridled passion that sweats, feels, coaxes and pushes every note. Chimes invite quiet reflection with stadium intensity, machine gun bass, tsunami crescendo and a drift back to earth. Like watching a fire with your ears: rounded, burning embers a foundation for whirling flame-striped licks that curls wallpaper and smokes tyres. Impressive. Sadhana’s yet-to-be-found vocalist will have their work cut out for them.
Blistering quintet Ruby Strait open forcefully with a funk-bedded (and untitled) number; creeping upward, aided by sneered, rapid-fire lyrics from a striking frontman. An effortless delivery: even the electric solo from a deceptively safe-looking lead guitarist. They stay in deep pocket, with a fulltime percussionist providing My Dear Soul an unexpected depth on congas; vocals flicking between the previously displayed style, soul screams and soft yearning. Congas welcome handclaps to an island party before totally rocking out. With falsetto exploration and a serious kazoo solo this band surprise, yet stay true to the rock template.
A gentler, more commercial bent Down In September has a beautiful heaviness that affords vocal showcasing. Pop this one in the AFL Final’s promo package: it reeks of Melbourne. I See Ghosts is walking the city at night, hands in pockets: dark, churning thoughts held up by neat, light percussion: in great symmetry with the ‘real’ drummer. Again, brilliant vocals. A cooking key change sees a relaxed and loose on stage vibe: technically tight, never sloppy. A nicely paced Better That Way boasts lush layers in great arrangement: a crescendo to the vocalist’s honeyed-razor delivery while Stir Crazy pays homage to funk, an outing enjoyed by the animated bass player. Squalling guitars and heightened levels of classic rock/soul vocals soar over conga/bongo dialogue. Nearly straight rock, the following track spouts ire, punishes cymbals, drops killer hooks and dynamic rhythms after which thumping drums escort squirming guitars to Typical. Cleverly crafted rock with light and shade in perfect proportion: maracas and cowbells get an outing too. A totally ripping song that still isn’t as full-on as the next.
