Crystal Castles, DZ @ The Met,Brisbane (06/02/2009)

Sun 8th Feb, 2009 in Gig Reviews

Local duo DZ work as a support band because they’re the antithesis to entire cool, fashionable facade that tonight’s early assembly of indie kids attempt to personify. Instead, they’re two Brisbane dudes playing thrash punk in the vein of The Mess Hall, but without the dramatic rock flourishes. A swig of beer and a simple count-in between tracks is all that singer/guitarist Shane Parsons and drummer Simon Ridley require to unleash their spiky concoctions of concentrated rock energy. The pair run through the first couple of songs under blue lights, which illuminate Ridley’s toothy grin, until a floodlight is shone upon the cramped stage.

Their ability to keep each piece grounded while navigating intricate rhythms at high speed highlights their confidence as players, which has been gained after playing throughout Brisbane at every opportunity within the space of six months. They’ve landed the national support for this tour, which is a considerable achievement; their piss-taking and hilarious cover of Vengaboys’ We Like To Party aside, the duo represent a seriously refreshing prospect on the local scene, though they may continue to have a hard time connecting with the crossed-arm electronica fans who survey from a distance.

Following a successful first Australian tour in late 2007 ahead of their April 2008-released debut, two mysterious Canadians known as Crystal Castles return for a highly-anticipated run in addition to their Playground Weekender appearance. Collective excitement is amplified as the venue is enveloped by darkness minutes before strobe lights signal their arrival, and continue to feature prominently throughout a set that feels less about projecting an image than sharing an experience. Frontwoman Alice Glass is characteristically draped in black and presumably smothered with eyeliner, though it’s difficult to ascertain as she’s rarely stationary during their brief but electric set.

A black-eyed Madonna backdrop dominates The Met’s crowded stage as Ethan Kath manipulates his laptop and keyboard from underneath a hoodie despite the room’s rising temperature. From the moment the duo’s touring drummer puts stick to skin, the tightly-packed dancefloor erupts. The crowd’s fiery enthusiasm is constantly stoked by Glass’ tortured, distorted vocals and her tendency to crowd-surf, microphone in hand, much to the chagrin of venue security.

Only upon experiencing Glass’ contagious energy in person can one understand the regular reports of mini-riots incited during the band’s sets. The woman is an enigma who embodies aggression and sexuality: is it any wonder that young people want to connect with a peer? Her refusal to adhere to the rock star cliche of keeping distance between artist and performer only makes her more desirable to both sexes: men experience attraction toward such a lively specimen, and women experience admiration toward a figure who represents freedom and confidence.

Among the mere handful of familiar tracks that are aired, album opener Untrust Us and the pounding drum conclusion of Crimewave are transfixing, though it’s signature tune Alice Practice that evokes the largest response late in the set. Album highlight Air War is especially disappointing, as Glass’ microphone is strangely all but inaudible.

Despite the numerous highlights, the live trio lose the crowd when playing tracks aside from those that feature on their debut. Though not for want of proving themselves as more than a flash in the indie pan, the set falls down due to their over-reliance on new, unfamiliar material. Only a handful from the album are aired among a set that runs twenty minutes shorter than the advertised hour; it’s not as if they don’t have the material to last the duration. Glass leaves the stage during an extended instrumental, and even a couple more sections such as this would be welcomed by the ravenous crowd.

The band’s popularity has long since reached tipping point and their punk-influenced glitch-pop is capturing ears across the globe. Glass’ hyperactive, affecting persona, Kath’s shattered beats and the duo’s indie-cool aesthetic are far removed from comparably sterile Australian acts such as The Presets, Midnight Juggernauts, Cut Copy and Van She. When performed with live drums within a packed club, their sound is chaotic yet cohesive. So why I am left feeling so unfulfilled? Damn them for swearing by that entertainment maxim – always leave ‘em wanting more.