After a weekend Anzac Day, Sunday was for many a day to recover from the revelry of playing Two-Up and saluting the diggers by indulging in a few ales. As a result, the Annandale attracted a small but enthusiastic crowd for what was a fantastic line-up of distortion-peddling guitar acts.

Dead Farmers have been churning out their garage gutter punk for a few years now and they’ve kept it refreshingly primitive. Guitar, bass, drums and throats all combined in a ball of energy that was short, sharp and satisfying. Short sets seem to be their thing and they’d be wise to keep them that way. Get in there, do the damage and escape. It was an ear-splitting Sunday afternoon wake-up call to clear out the cobwebs.

Songs are a Sydney-based band of three Kiwis and an Australian. They harness the indie pop sounds of both nations with their jangle and fuzz, and as a result have released split 7”s with The Bats (NZ) and Love Of Diagrams (AU). Their set seemed harder and darker than previous shows, with a more shoegaze and Krautrock drive to many of the songs. Their two guitars wove texture and melody effortlessly, never weighing down the songs with too many effects or unnecessary strumming. Bassist Ela Stiles played with a pulse that propelled the music and caused a minor sea of nodding heads across the room. More recordings are apparently on the way. It would be a crime for them not to reach a wider audience with their finely balanced pop and indie sensibilities.

The Laurels bring a sorely missed shoegaze aesthetic to the Sydney music scene and they do it without overly aping their heroes. Sure, there is a big chunk of Ride and Swervedriver in their swirling distortion and white noise. However, they have developed a complete sound by countering the surge with blessed-out vocals and impressively upbeat drumming from Kate Wilson. The introduction of some electronic loops added to the trippiness of their set, but the real surprise was the energy they brought to the stage. Instead of just riding the hazy vibe they almost attack their songs, especially singer/guitarist Luke O’Farrell and Conor Hannan, who pushed his bass beyond the call of duty. Visually, their contrasting frontmen work well live. Luke attacked his guitar in explosive fits while Piers Cornelius stood motionless, head tilted back, eyes focused somewhere above the heads of the scattered crowd.

Witch Hats had a busy week, with support for The Drones the previous three nights. Even though the Annandale crowd thinned slightly, they still played to the limit with broken strings aplenty. Their constant touring has resulted in a live set that is tight and loose at the same time. Essentially they made it look easy up there, while nailing the swing and swagger that characterises their dark and swampy sound.

They are the latest in the evolutionary line of bands birthed by The Birthday Party and Scientists and raised by Jesus Lizard. What defines Witch Hats is how well they follow the – œless is more’ dictum. The bass is clean and rumbling, the drummer solid without frills and the two guitars intertwine without either stealing the spotlight. Kris Buscombe’s voice ranges from a Mark E Smith rant to a Fugazi scream and it plays a big part in their masterful display of discordant melody. Witch Hats succeed because they can bludgeon and caress you. That magic mix is what makes bruised music beautiful.