Love Of Diagrams, Witch Hats,Naked On The Vague @ TheHopetoun, Sydney (13/10/06)

Tue 17th Oct, 2006 in Gig Reviews

Warning.  The power of eating too much fruit can render one powerless with horrible stomach pains and other ramifications that extend in being absent for Naked On The Vague. To the band, a humble and sincere request for forgiveness, please.

I missed out seeing Melbourne’s the Witch Hats last time, with HTRK, and with highly esteemed friends such as Rowland S Howard I was more than just a little bit testy in doing so. Interestingly by hauling myself out of bed so late to catch what was left of their show an appealing advantage unfurled.  Like suddenly being pushed off the swimming block into the overwhelming deep, there’s no time to think; no time for mental build up. You’re paralysed in mid-air to fall profoundly into what is the automation of immediate immersion only to be deliriously swallowed whole; and that, my dear people, is what it’s like to enter straight into a Witch Hats set. 

Walking head on into the screamo bruising chant that is My Birthday needless to say discouraged any visual of a happy celebration. It was also a picture of punters well and truly soaked but this isn’t continuity of the metaphor; it’s a hot and sweaty night in Syd and none are more saturated than the band.  This lot immediately strike you with their angle on jangled rotten-to-the-core music who clearly enjoy nose-diving straight to rock and roll Hell because they know that’s where the fun people are.  Their myspace page proclaims they often bleed from such prolific performing and though I couldn’t detect any blood splatterings it left us feeling vulnerable for a music equivalent of an AVO.

Next up are headliners Love of Diagrams – here to launch their 6-track EP Mosaic – who embrace an avant-garde undercurrent that oscillates lushly between ultra post-modern leanings of the so-called New Rock Movement and 1960s New York bohemia.  Finely executing a dynamic set they confidently revealed the magic entwined around smooth musical chemistry confirming why they’ve been signed to unshakable U.S. indie label, Matador Records.

Their songs are intelligent and well crafted with layers of mystery not far removed from a Fellini film leaving you wondering what direction they’re going to take next.  A steady paced elektra performance that left no room for boredom was rich in its tailspin melodies and compact in its swift rhythms still bounding them to a raw-boned force that contrasted nicely alongside guitarist Luke Horton’s beautiful melancholy stage presence and vocals.  Moreover, it complimented Antonia Sellbach’s driving bass and Monica Fikerle’s fervent drumming style whereby I wished my nine year old niece who’s learning drums could have caught sight of her in all her rockified splendour.  The inclusion of a couple of instrumentals to let the music do the talking were not under-appreciated either.

Lead vocalist Antonia performs with head held high, eyes luminous and looking upward with a rabbit-in-the-stagelight look.  She played with all the cool of a practiced card shark whose poker-face belied something more compelling and in stepping off stage they left a lasting aftersound of individual identity with demands of an encore unfortunately being passed over.  So pre-emptive or not, this is a call-out:  Dear Love Of Diagrams.  The notorious paths of some much loved Melbourne bands are known only too well.  Don’t move to Berlin.  We need you here.  With love…