The Lost Gospel, Vespers @Candy's Apartment, Sydney(23/08/06)

Tue 29th Aug, 2006 in Gig Reviews

A reasonably full Candy’s Apartment greeted the album launch of According To…, by Grinspoon’s frontman, Phil Jamieson’s, latest project The Lost Gospel. Though where was this crowd when the equally talented and charismatic support act, Vespers, graced the stage? The trough of the night was the lack of support for this burgeoning local act. Although if you were there to catch their tight set comprising of vigorous and brisk sounds, you were treated to something special.

Vespers sure do have a thing or two going for them. Having recently played at Sydney’s huge rock night Rebel Rebel alongside other thriving aussie acts, such as The Exploders, then asked to record a spotlight for Triple J’s Home and Hosed, followed by being filmed by JTV, it’s evident I’m not the only one getting psyched for something huge to happen to these five dapper guys.

If the definition of a Vesper is an evening song or prayer, you’d be correct to deduce that this ensemble united under Echo & The Bunnymen’s cry ‘The Killing Moon’. While differing sonically, both bands are unique as they create shadowy, contemplative sounds (though Vespers’ sounds you can also dance to). Ben Davey of Vespers enhances these sounds with his stentorian and resolute vocals. His voice is mature; articulation and projection powerful, along with his intonation and expressions diverse; he is consequently a welcome change to all of those young sounding indie singers out there.

In addition to the memorable vocals, the band has an inconceivable magnetism. The spirited body language of drummer Chris Frost was mesmerising, as was viewing the absorbed playing and postures of the other three band members, each with their own individual presence and personality. Vespers’ oeuvre is unquestionably compelling. The track ‘He Said She Said’ played live, as well as ‘At The Station’, both affect the listener corporeally. Towards the end of the set Vespers played the new, oddly titled track ‘Teeth’ that starts gradually but builds into a song that is characteristically Vespers, as it recharges and animates the listener.

Once Vespers finished their short yet dynamic set, the preparations for The Lost Gospel began. Fair enough it was an album launch and one would want every instrument and speaker to be tuned and aligned properly, but never have I waited so long for a band to set up. It took roughly forty-five minutes, which was some fifteen minutes longer than the support act played. What a joke! Luckily someone used a bit of cheek and played cringe-worthy Christmas and wedding tunes during the preparations.

The Lost Gospel didn’t announce themselves but rather began with a climatic, triumphant soundscape akin to that, though nowhere as monumental, as Mogwai. They then burst into the first track of the album and at once the crowd converged on the dance floor. Immediately the audience took heed to The Lost Gospel’s “nonconformist” (or more appropriately mixture of) sounds and were nodding their heads and bopping along until the very end of the set. Their biography states that they encompass the genres of “pop/crock/garage/shlock… (and) will leave audiences bewildered and shocked at their unique approach to an indefinable genre”. They’re lying when they state that they leave the audience “bewildered”... they leave you utterly disorientated.

Their live set exhibited minor fragments of pop and garage, but they rather indulged in blues/alt-country, which then astonishingly turned into a few typical indie tracks and furthermore they dabbled in some light, fluffy punk. Throughout the majority of the set Jamieson channeled Johnny Cash, particularly in songs such as ‘Good Time’, via his drawn out articulation, head nodding and with his guitar tight to his chest (albeit clothed in a typically new wave uniform of tight black jeans and large button up shirt).  The lyrics of love were tender, as were his descriptions of Tennessee, a somewhat clichéd subject matter in songs of this styling and additionally difficult topic for many listeners to relate to. However the jeans must’ve infiltrated his sensibilities as within minutes the easy-going tunes turned into somewhat angular verses with jutting guitars as displayed in the track ‘Limits’. The shock of the night was the one punk-fuelled song comprising of obstinate, vulgar lyrics discussing sexual intercourse and where bass player, Matthew Strong of Custard, and guitarist Nick Wright both yelled into the microphones in a typically pop-punk fashion.

Despite the frustrating indecisiveness of their sound, all of The Lost Gospel’s tunes were exceptionally executed. Phil Jamieson’s voice live is one of the most glorious I’ve ever heard and the onstage presence and banter amongst each band member and with the crowd was comical. Yet the most admirable feat was how Jamieson acknowledged the constituent of the crowd that was there to see him and he performed to and for them.

The Lost Gospel is obviously a creative outlet for these musicians hence their attempt to encompass each and every genre other than what they’re known for. This self-indulgence thus has the potential to alienate listeners, so one can only recommend to listen to each track as an individual song and to appreciate it for what it is, as opposed to listening to find a unified album.