Ohana, Hospital the Musical,Furcurve and The Let-Go! @Hamilton Station Hotel,Newcastle (25/11/06)

Tue 28th Nov, 2006 in Gig Reviews

This particular Saturday night in Newcastle saw four extremely promising bands, each on their own relative cusps of success, play and impress, albeit to a moderate crowd in an air-conditioned restaurant room in a suburban-ish pub.

It may not have been the most obvious choice of location but the line-up was about as natural as, well, family – and each band took time out to stress that this was a suitably warm and loving affair with a fair bit of healthy sibling rivalry thrown in. Head of the family was a title reserved for Ohana who were launching their debut album, but that did not stop the others from taking a swipe at their poll position.

First up were Nelson Bay hopefuls The Let-Go!, locals by default and youngest addition to the family. Eager to impress, they took to the stage, or that should be nicely carpeted floor, with an enthusiasm that is invariably described as “petulant youth” or “young angst”. And they pulled it off. Having recently supported Australia’s favourite fashionistas (make of that term what you will), The Scare, and faced with stellar competition tonight these five young men had a lot to live up to. Frontman Murray Cronin panted like a fish out of water in between songs, but gnawed like a shark possessed when singing/shouting and the band kept up the aural attack throughout. With nods to the genre blending works of the sadly defunct Test Icicles and Black Eyes, these guys make noise, good noise. It didn’t last long, but then, the entertainment had only just begun.

Second were Sydney’s Furcurve (“littler but older brothers”), an intriguing act to say the least. Starting out like a train-wreck waiting to happen the band thankfully kept it together enough to give the audience a wholesome taste of their recently released debut EP Red Telephone at The Thieves Guild. Having drawn comparisons to heavy luminaries Refused and Blood Brothers, Furcurve certainly matched up in brutal intensity and in screamer Luke Monks brought a new take on the whole “crazy frontman” schtick. Much to recommend.

The very highly regarded Hospital the Musical then took to the stage with a rage that took all off-guard. Bearded wild man Drew Gardner really took the show to the audience, stalking the carpet, and throwing in some well-worked theatrical hospital manoeuvres, taking to the ground like a padded wall. The band’s music challenges modern stereotypes of heavy music as complex arrangements are punctuated by moments of simplicity and rapid time-changes. While Gardner remained the undeniable focal point, guitarist Clancy Tucker stole the attention of players in the audience with his frenetic pace and precision. Six songs down and I don’t think anyone could have taken any more, but fortunately it was all quality. With an EP to plug don’t think you can hide from these guys.

Ohana. What can really be said? The music of their debut album Weak Wrists talks for itself. Recorded totally live, the release provides an accurate representation of their dichotomous aural existence. It makes sense that their output is self-proclaimed to be bipolar music as it definitely combines the seemingly disparate markers of noise and ambience into a relatively unified whole. The live show is a tightly orchestrated affair, seemingly effortless in it’s blending of hardcore and post-everything. From the subtle to soaring melodies to throat-ripping screams, Ohana play to their strengths and that seems to be everywhere.

There was little fanfare on the night - a few thanks to their “brothers” and that was it - but we can rest assured that talent and potential run in this family.