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BIGSOUND Live Review - Krissi Weiss

Wednesday 07.09.11

After a day of insight, information and controversy (I’m looking at you McGee), the Valley opens its doors to industry-types set on discovering the “next big thing” and pundits excited to see who may rise to the top of the cream over the next year. Big Sound Live is an opportunity to do business, make your mark and be seen by all manner of music lovers that are open and ready to absorb something new. For little old Brisbane it is becoming quite clear that careers can be made in this two night series of showcases.

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The DC3 Live Review Melbourne-Richmond

Death Mattel opened with what would have been an enjoyable set if I hadn't been so impatient for the second support act, Pinky Beecroft's Circus of Life, featuring members of The White Russians, with backing vocals from The Nymphs. I was lucky enough to see this band perform for the MONA opening in January, and I was very eager to see them again.

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The band performed Machine Gun Fellatio classics like "Pussy Town", a dirty dirty dirty version of "Blacklamb", and an astonishingly beautiful rendition of "Amorous", all without the signature MGF backing tracks and onstage antics, and what they lacked in show, they gained in substance. Everything was performed live, everyone was fully clothed, and it was flawless and unspeakably hot.

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BIGSOUND Live Review - Denis Semchenko

Wednesday 7.09.11

Clock strikes 8 – that means BigSound Live has arrived. Time to swing those lanyards and wristbands, walk fast, talk loudly and – above all – have fun, fun, fun and observe, observe, observe.

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The Valley is already buzzing hard by the time I hop off the train and head down the well-trodden Brunswick St-then-Ann St path towards The Zoo, where local indie-folkers Inland Sea woo the assembled crowd with their patented stunning harmonies. The Arcade Fire-like vibe is strong, yet the lads & lasses' choral assault is unmistakably their own. The Triple J favourite All Fall Down is, as ever, a treat.

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BIGSOUND Live Review - Alan Boyle

BIG SOUND Live is a mammoth music event by any standards: Eighty bands performing in eight venues spread over two nights, concentrated in little over a square kilometre of Brisbane's Fortitude Valley.

Normally the sort of place to get your head kicked in on a weekend night, the mid-week positioning of these showcases means hipsters, indie-kids, punks, crusties and hip-hoppers are in a massive majority, safely swarming around Brunswick Street and surrounds like happy drunken lemmings. So many acts in such a short time-frame means lots of venue-hopping and an attention span comparable with your iPod shuffle function.

A multitude of lanyards and wristbands are flashed in the faces of disinterested security, and more cops than usual are hanging out at Pie-Face but everybody is out for the same reason. Music. And heaps of it.

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BIGSOUND Live Review - Brendon Rosolen

Walking into the Bakery St stage was a somewhat surreal experience. In what is usually a grungy side street in the valley, had been transformed, by the BigSound elves, into a trendy, urban hangout. With a stage taking pride of place in the narrow laneway, between palm trees and the ever-present bar, it was clear what this was all about: the music.

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I arrived a few minutes early to catch The Sheepdogs running through a final sound check before they laid their smooth, southern rock upon the crowd of, mostly, industry folk. Reminiscent of Lynyrd Skynyrd and Creedence Clearwater Revival, the Canadian band brings their own flavour to a timeless musical genre; this is music you could road trip to. The crowd of musical industrialists all seem too-cool-for-school to really get into the music or are too busy schmoozing to really pay attention, luckily there are a few eager punters loving what The Sheepdogs are bringing to Brisbane tonight and I think we’ll be seeing them back on our shores sooner rather than later.

A common motif in music and fashion lately has been the modern re-interpretation of vintage classics, so it is appropriate that the old Troubadour venue has been reborn as The Black Bear Lodge. The layout of the venue hasn’t changed much and the décor looks like the share house living room of my grandparents and some hipsters. It is both familiar and new, much like Gossling, the Melbourne songstress I am here to see. Sitting alone on the stage, behind her keyboard, Gossling’s sultry vocals seduce the crowd quickly and she doesn’t let go. A quirky joke about Snoop Dogg’s umbrella (“for drizzle, my nizzle”) lightens the mood before she slides into the next song. Gossling has a cutesy, almost childlike, vocal style, similar to Julia Stone or Alex Winston, that you will either love or hate, but I think she has nailed her sound and we will be seeing a lot more from this talented young singer.

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Big Boi review – The Tivoli, Brisbane, Fri Aug 26th

Another week down, another Friday off the calendar. This sleep-deprived writer is running on fumes by the end of the day, but knows he can't miss out on this opportunity. Once inside The Tiv, I lose count of reverse-flipped baseball caps; it's hardly an expensive R&B club night, though – more a high-calibre hip hop event.

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Tonight's Australian support, Obese Records signees Thundamentals demonstrate just how remarkable the close-knit Blue Mountains hip hop scene is. Pacing the stage, Tuka, Jeswon and Tommy Fiasko take mic turns while DJ Morgs lays down shuddering bass and thwacking beats. He certainly knows how to use the MacBook as an instrument – however, he's a revelation behind the decks. If one were to use “urban” slang, Morgs “can scratch dat shit”, so adept he is with the turntable – and of course, the three MCs can rhyme like nobody's business.

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We Review The Vines, Brisbane Hi-Fi 26th Aug 2011

It's early at the HiFi but already a steady stream of folks are wandering up front towards a blisteringly loud and thrashy-but-tight Dune Rats. The Brisie 3 piece are squashed together in front of the Vines backline, but it suits them nicely. Drummer BC Deusa deserves to be out front with his hilarious hair-care moves anyway. Everything except the snare is drenched in reverb and they steadily smash out three minute pearlers with their Subpop hearts on their sleeves.

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In contrast The Bleeding Knees Club have a bit of a rough night. Thanks to a persistent heckler we find out that they've a new drummer called Woodsie, and though they kick off with a disclaimer about their guitar skills they still seem unnecessarily shambolic. 1-2-3-4 intros into every song and a cute BKC denim patch make all the right moves but it's the kind of music a sixteen year old can slaughter with the help of a few mates in his garage and fuck a perfectly fine Saturday arvo in your neighbourhood. It's only when they finally bust out two-min Triple J screamer "Bad Guys" do they start making any sense. But by then it's too late.

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Redcoats EP Review!

Melbournians Redcoats are getting bigger and bigger these days – even as I'm writing this, one of the country's most popular radio stations is blaring their breakthrough single Dreamshaker.

Formed in 2007 in the febrile post-Cog/The Butterfly Effect/Karnivool/Mammal environment, the four-piece have done four years of the proverbial 'hard slog' prior to exploding on the national airwaves and becoming serious pretenders to the Australian heavy rock throne – currently occupied by Brisbane's Dead Letter Circus.

RedCoats

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