A night at the Norfolk Basement never fails to provide for a twisted and somewhat unexpected form of entertainment.

And last friday night was no exception.

WA’s own English-punk influenced rockers, The Novocaines, had a small but eager head-beating fan base.

Frontman Corey Marriott’s soft and almost anti-ocker voice as he said it’d been a while since they’d played at the Basement and asked the intimate crowd if they were excited to see Philadelphia Grand Jury was lost completely as bass player, Steven Turnock, launched into the set.

Marriott’s energetic and perhaps some would say, epileptic, movements behind the microphone kept all eyes peeled on the grungy and ferociously unruly four piece of impervious rock.

Perhaps it was the melodious and subdued sounds of the tambourine and harmonica that lured the ladies in but The Novocaines were making no apologies for their harsh, loud and unyielding uproar which could be compared to the likes of The Vines or even The White Stripes.

Receiving an applause that didn’t quite resemble the band’s level of cacophony, much of the crowd retreated to the bar as MC Bad Genius and Berkfinger silently and subtly began setting up.

On tour for their debut album, Hope Is For Hopers, and with the vivacious and absurdly witty performance they delivered, it is no surprise these Sydney based indie artists are up for an Unearthed J Award.

Beginning their set with a short, upbeat and rhythmically pleasing tune titled Politics, it wasn’t long until the audience were tapping along to the systematically raw delight of the Tame Impala sounding bass in No You Don’t. Ready To Roll followed with a controlled flamboyancy on Berkfinger’s behalf but as the chorus approached, the mischievous tune held up to its title.

Along with the creative but simple lyrics that rocked through the snug and almost viscerally tight basement came the band’s decision to pre-record audio snippets to be played between songs as means of further engaging the sweaty but best-behaved crowd.

A voice resembling that of Stan Marsh from South Park but was probably created by Berkfinger told the audience; “Hello, we are the Philly Jays and we would just like to say, we hope you are having a good night”. This animated, nerdy voice introduced songs as Berkfinger, MC Bad Genius and temporary drummer, Calvin, watched on, amused at the mixed reaction from fans.

The honest, cheeky track When Your Boyfriend Comes Back To Town and sad but ironically uplifting pop tune Growing Up Alone that could be compared to the likes of The Eels or even Belle and Sebastian only got the crowd pumping for more.

Berkfinger’s undeniably chilling innocence uttered during the lyrics “I had a weapon it’s a knife and now I’m standing right above you I’ll still love you on the other side my future wife” in the acoustic rock rendition of I’m Going To Kill You saw a major jump in audience energy levels. Fans had the chance to have a breather as the melodic, slower-paced Wet Winter Holiday took over.

The chaotically ordered mess that was The New Neil Young saw audience participation rise to new heights as Berkfinger articulated the ordinary lives we lead in the chorus with a voice similar to Mark Oliver Everett. MC Bad Genius took to the keys during Good News and as soon as the first note was stammered, the crowd turned into a slightly more tamed version of Marriott’s performance.

The unexpectedly rock ‘n roll type performance of Going To The Casino saw all male members of the audience resemble a calmer version of a clump of Collingwood footy fans and set the unruly and anarchic next ten minutes that followed.

Piece by piece, Calvin’s drum-kit was bought down into the centre of the audience by Berkfinger at which he then called everyone up on stage to have a dance contradicting the title of their final song for the set, I Don’t Want To Party (Party). Fans clamored onto stage, aching to touch Berkfinger’s limbs and face. Meanwhile MC Bad Genius was on the floor, sweating, making love to the microphone as he belted out the lyrics “I Don’t Want To Party Party”.

Berkfinger moved into the audience, allowing die-hard slightly-drunk fans to take hold of the microphone and smash some cymbals.

Drenched in sweat, MC Bad Genius shoved the microphone in front of Calvin, who, now seated in the middle of the audience, screamed “I Don’t Want To Party Party” after which followed a jumping, disorder of crowd entanglement with Berkfinger as Calvin proceeded to smash out a roughly ten minute drum solo.

A social banquet of happy and grateful audience members turned into an orgy of karaoke euphoria that left the crowd feeling overwhelmed with satisfactory shock, a delight in dishevelment and a bloody good appreciation for being part of such an unpredictably insane spectacle.