The Black Ryder @ The Tote,Melbourne (19/11/09)

Mon 30th Nov, 2009 in Gig Reviews

My last experience of The Black Ryder was a fairly underwhelming and some would say unprofessional performance at The Cherry Bar earlier this year. However since then they have released an impressively produced debut album so I was more than willing to give the benefit of the doubt.

Fellow Sydneysiders Killed Two Birds lend support in a laid back fuzzed out fashion. Musically the seven piece are very much indebted to Thirteen Tales era Dandy Warhols. The three guitars are subtly balanced by the addition of a trumpet which adds high toned textures. Looking at them you can not help feeling that the band live in some sort of hippy commune, oblivious to the outside world.

The lead singer and guitarist has a sort of mountain man’s unkempt beard and hair whilst several members sport brightly coloured loose fitting pants and shirts. Meanwhile the waif like tambourine girl dances in a world of her own. The crowd is fairly receptive although I can not help noticing that there are actually more people in the smokers court yard than front of stage. Like I said though the band is happy remaining oblivious and happily the music does not suffer ranging from upbeat pangs of glorious melody to slowed down contemplative reminiscing.

Starting with album opener To Never Know You The Black Ryder immediately show a maturation since their last Melbourne appearance. Bursting with a sparsely defined complexity it is hard to believe that both Aimee Nash and Scott Von Ryper are both relatively new to playing guitar, as they show a natural inclination towards the melancholy licks, feeding off each other and the rest of the band. Aimee’s liltingly soft tones are contrasted with Scotts more prominent vocals when he takes the lead on the more rocky fuzz infused Grass.

The rest of the band too, filling the daunting shoes of some fine guest artists on the album (including one Mr Peter Hayes), stand tall. Jules Farrari switches effortlessly between keys, guitar and harmonica whilst bass and drums keep a consistently even tempered rhythm throughout. A particular highlight is Gone Without A Feeling in which both Scott and Aimee lend vocals on a thoroughly danceable and excitement inducing number.

One of the problems last time with the band was that while they seemed to be enjoying themselves and laughing a lot, the audience was not in on the joke and it seemed to come at the expense of their playing. However no such problems occur this time with the jokes and cracks and about the heat flowing freely between band and audience and the focus left on the music. The Greatest Fall recalls the down tempo jangle rock n roll of the Raveonettes without the dual harmonies. All That We See pulls on familiar the dulcet guitar tones of the Lovetones or Brian Jonestown Massacre.

Whilst Sweet Come Down in an almost country style, together with the heat, makes me feel like I am walking down a dusty road. Burn and Fade echos the dreampop of Mazy Star and Hope Sandoval’s teaming with the Jesus and Mary Chain. Deny calls for an encore they closed with Let it Go, which some consider bands strongest track.