Deerhoof, Tenniscoats, MinimumChips @ The Corner(03/03/2010)

Mon 8th Mar, 2010 in Gig Reviews

Check out photos from the gig here

Brisbane-cum-Melbourne cult heroes Minimum Chips opened proceedings at the Corner Hotel, apparently at the request of Deerhoof, who were handed one of their CDs on their last tour and fell smitten. Between all their other local projects and a flexible line-up, Minimum Chips have played together for over a decade. Like an antipodean Stereolab, their breezy, sweet melodies are built upon some fine guitar handiwork thanks to Julian Patterson (KES Band, Mum Smokes) and seriously sweet bass lines (*Guy Blackman*), textured with glockenspiel, trombone, organ and tambourine. Together with Nicole Thibault’s breathy vocals and sparkly green eyes, Minimum Chips’ jaunty, swirling pop truly whisks you away.

Japanese indie-pop duo Tenniscoats followed with an utterly charming set. Armed with naught but an acoustic guitar, keyboard and vibraphone, Saya and Ueno Takashi’s delicate tunes recall the mood of an Arthur Russell ‘World of Echo’ track, like a lone voice calling out into a still wilderness; vulnerable and tender. Their music utilises breathy interactions and shaking guitars, intimate low murmurs, incredible finger picking and simple hooks, echoed from guitar to keyboard chords. Saya’s voice is childlike and endearing, as its innocence feels neither fake nor too cutesy, but conversely refreshing. The melodies on songs like Baibaba Bimba are warm and delightful, and its clear why Tenniscoats have found so many keen frequent collaborators, from members of Deerhoof (forming OneOne and CanCan), as well as last year’s collaboration with Scottish indie-pop legends The Pastels. In their final song, the until then silent Ueno stood by Saya, singing along to the sweet refrain; the sight of the two swaying side-by-side providing a lasting memory for the night.

Experimental pop darlings Deerhoof, returning from San Francisco for their third Australian tour, showed why their live show is so often spoken of in reverential tones. Their exuberant brand of noise pop ricochets like Wire’s best angles, then turned up a notch as their improv-like songwriting swivels between key and rhythm changes with ease.

At times the jerks and solid slabs of noise can be grating, but the magic ingredient of Satomi Matsuzaki’s inexpressive, girlish vocals soften and beguile; creating songs like a late Kandinsky, half geometry, half fleshy organic sounds. Mixing Japanese and English words, her delivery is often broken down into individual syllables, effectively rendering her voice more akin to another instrument. This also distances songs from the search for any expressive meaning, rather embracing the pleasure of anarchic creation.

The combination of taut guitars, drums and sweet, kooky vocals make a bizarre yet dynamic partnership. The playfulness Matsuzaki brings to the band fits their approach, as they’re more like comic-book superheroes with guitars. Part of the thrill of experiencing Deerhoof live is pure voyeurism, watching excessively talented musicians getting off on the sheer joy of playing together (never have I seen a band laugh so much on stage while still blistering through their set). The guitar interplay of John Dieterich and newest member Ed Rodriguez is tight, precise, exhilarating. Charismatic drummer Greg Saunier’s long limbs masterly assault the minimal kit with a ferocious level of lip-curling concentration, before breaking into a goofy grin or meandering anecdote. Matsuzaki illustrates her deconstructed lyrics with simple hand gestures like a kids’ television show presenter, as the band run around the stage, hop uniformly at angles and play some of the most gut-racing music likely to grace a Melbourne stage this year.

Picking songs from across their sumptuous discography, standout tracks nudging above an eternally high standard included the opening The Tears and Music of Love, Panda Panda Panda, Fresh Born and The Perfect Me. For the encore, there was a show-stealing rendition of Milking and the closing Basket Ball Get Your Groove Back was just as deliriously great and wacked-out as the rest of the show.