Dead Letter Circus, Closure inMoscow, Wolves @ Manning Bar,Sydney (19/8/11)

Tue 23rd Aug, 2011 in Gig Reviews

With their disjointed rhythms, hints of baroque and unique mix of crunching tones and soaring choruses, it’s safe to say that not many people were expecting Wolves to sound anything quite like what they did. For those willing to unfold their arms and open their ears, however, the band were a nothing short of revelatory. Their sharp and innovative take on the heavy-rock format was matched with smart dynamics and lighter shading, occasionally providing blunt contrasts between their soft melodies and spasmodic prog-rock freakouts. The highlight came in the form of closing number Children, a huge march that blended together all the defining aspects of the band in a truly memorable amalgamation. It’s often been said that there’s something in the water over in Perth, and Wolves have clearly been guzzling it down.

All has been quiet on the western front for some time now in regards to Closure in Moscow, who have had been focusing on a new record and working around a reshuffled line-up that involves a new rhythm section. If tonight’s set is anything to go by, however, then it’s clear that the band have gotten their collective shit together. To put it quite simply, they look and sound fantastic – the new members have seamlessly transitioned into the fold, and the band’s jittery style of post-hardcore has been tightened up and kicked into overdrive. It’s difficult to avert your eyes from fearless frontman Christopher de Cinque, who has custom-made his own superhero outfit, complete with spandex and a cape. He dances about the place like a hirsute Peter Garrett having an epileptic fit, and yet he still faultlessly nails every wailing vocal high-note – of which there are many, in case you’re unfamiliar. Even their detractors, who dismissed them as Mars Volta wannabes in the past, have got to give credit here. They’ve had their off nights, sure; but let it go on the record that Closure have gotten their mojo back.

Dead Letter Circus have made it. There’s no other terminology for it. Whether it was doing arena shows with Muse and Linkin Park, playing on the main stage at the Big Day Out or having their debut album voted one of the best Australian albums ever by Triple J listeners (less than a year after its release), Blind Freddy could figure out just how far the Brisbane boys have come. The heroes’ welcome they receive, then, is no surprise whatsoever. What does come as a major surprise, though, is just how much effort the band themselves are putting in. Consider this: at a time when they easily could phone it in and simply leave the rest up to crowd hysteria, DLC have never been more focused on putting on a great live show.

Vocalist Kim Benzie is all showman, losing himself in the music one minute and handing out mic grabs to dozens of eager front-row fans the next. At this stage, he knows exactly where to get the audience singing along – whether that’s the final a capella gasp in The Mile or the big-finish chorus of This Long Hour – and it always feels impulsive rather than routine. The rest of the band also hold down their respective forts with the kind of intertwined musicianship that can only come from countless performances together.

Even new guy Tom Skerlj, who provides extra guitar, keyboards and drumming, sounds as though he’s been in the band since its inception; such is the cohesion of the band. Every track sounds as fresh as it did when it was released, too – in addition to most of This is the Warning, we’re treated to several old favourites, including the anthemic Lines and the seldom-played Alien and Tremors; all given fiery renditions that serve as reminders why they were such favourites among fans to begin with.

Those that have seen Dead Letter Circus move from the Annanale to the Acer will have the greatest appreciation of the band’s successes of late, but that doesn’t mean newcomers are getting a raw deal by any means. After all, they’re putting on their best live performances yet, and have moved comfortably and without competition to the top of Australia’s heavy-rock ladder. Call it prog, call it alternative rock, call it prog-bogancore if you have to. Just don’t call them a sloppy live act.