Young Heretics, Comic Sans,Siren Lines @ The Troubadour,Brisbane (17/07/2010)

Mon 19th Jul, 2010 in Gig Reviews

There is so much young Australian talent in the room you could vomit (meant in the best way possible of course, kind of like eating too much candy.) The Troubadour is the perfect setting considering tonight’s headliners are Melbourne’s Young Heretics. The deep red and burnt orange walls, dimly lit and the forerst wallpaper are a reminder of the themes of fantasy and haunting Romanticism of the duo’s album We Are The Lost Loves.

Sydney four-piece, Siren Lines are the opening act. The crowd is small at this point and are mostly sitting around the venue walls. The band is good despite having to count in each song and they run through their set list in no time. Amongst tracks played is the bands latest demo Someone Else of which I cannot go past without mentioning lead guitarist, Garry Taulu.
Apart from bassist Matthew Cheetham, who uses his space well, the band is relatively still on stage and it is quite easy to look away. If their sound is anything to go by, they could very well have a successful future ahead of them.

Whilst Siren Lines are playing I couldn’t help but notice the group of dishevelled young boys sitting across from me. Of course, to my surprise, these boys took to the stage an hour later collectively as Comic Sans. Their music is an intriguing mix of conflicting 70s disco and punk ideals, as well as a hint of 90s grunge. They are energetic and fun and wildly entertaining. Percussionist BC Michaels give an impressive performance resembling a real life Animal (of the Muppets) proving an important part of the band’s unique sound. Favourites played included Thom Moor and the ever-catching Nani. Comic Sans end their set with a brilliant cover of Benny Benassi’s Satisfaction and their latest beast Vixen.

In between acts you can see Young Heretics, minus one Kitty Hart, setting up their equipment. Soon Hart joins the boys on the star adorned stage and they lead with Animal War and follow straight up with The Lost Loves. Hart, dressed in a fitted vintage lace number, is clearly passionate about her performance. She isn’t afraid to get right up to the front of the stage and stomps around in a way that is not unlike a child throwing a tantrum. Her voice is soft and sweet and works well with the acoustics of the venue.

The band’s other frontperson, Matthew Wright, is content in the corner, playing the lead guitar and keyboards and supplying vocals where required. The crowd, still small, has moved to the front of the stage now. The Troubadour is at about a third capacity, if that, and a lot of that crowd is the support acts. For the first few songs a group of girls are sitting in front of the stage but soon rise to their feet at Kitty’s request. The band is confident in their music and it is obvious by the songs to follow, Dark Prince and their latest single, Risk/Loss after which Hart takes her leave.

Wright is the centre of attention now and the crowd is quiet for his solo song, I know I’m A Wolf, a delivery that certainly leaves the crowd wanting more. By the end of the song Hart is back on stage and they continue with a new song Pray For The Moon.

Alas the night ends with Bones Of A Rabbit, the intro so genuinely executed by a militant style drum roll while Hart marches in her place. You can tell that this is the bands favourite song to perform as a group. The song ends with all four members throwing everything they have into the beat of the drums. The cymbal Hart is bashing has previously been severely damaged, no doubt as a result of this exact act. All in all, an impressive night.