In complete contrast to a month ago when it was "precipitation nation" Brisbane’s fourth St. Jerome’s Laneway festival could've been subtitled "Boiling Brisvegas". Unlike many festivals Laneway 2011 had a remarkably consistent quality throughout the entire day, so regardless of the weather it was always destined to be a scorcher. We braved the extreme ultra violet index to report on Australia's Rat Vs Possum, Cloud Control and Cut Copy. While sampling UK's Foals and America's best of the best with Beach House, The Antlers, Warpaint, Blonde Redhead, Ariel Pink, Holy Fuck. Oh and LES SAVY FAV!.
Deerhunter's willowy singer-guitarist and stand-up comic in the making Bradford Cox entered the 2Ser studios to trade words with Static's Chris Berkley about all things in the Deerhunter-verse.
Having caught them a few weeks earlier in London, it was like witnessing an entirely different band in the throes of conquering new territory and playing to new audiences.
I'd be surprised if the majority in attendance were familiar at all with Atlas Sound, but the crammed in masses of which Webcuts was one of the last to make the cut, were calling out requests that even Cox felt too obscure and unplayable.
Webcuts delivers the verdict on Deerhunter's recent Australian assault with reviews of Brisbane, Sydney and also the secret Atlas Sound Sydney show. Let the hunting begin.
Deerhunter Scala, London 18th May 2009 Palpable expectation, a sold out crowd, a critically received album, a loud northerner standing beside me naively exclaiming “I hope they play something off Turn It Up, Faggot" and an unlikely intro tape of Bruce Springsteen’s “Born to Run”. This is how it begins. Four boys from Atlanta, Georgia
of Montreal The Zoo, Brisbane 4 March 2009 It's just before the encore that things start getting really weird: Two guys in animal masks start playing -- Mr Fish is on drums while Mr Lion roars into the microphone, garnering the requisite response from the crowd necessary in encore type situations -- leading me to
Mint Records, 2008[rating:9/10] Vancouver's The Organ shared that same shadowy intellectual existence that made them sound like a darker version of The Smiths, without Johnny Marr's trademark flair and Morrissey's veiled humour. Helmed by singer/lyricist Katie Sketch, they created a delicate sound that brooded and pined, Sketch's lyrics reading like private diary entries turned into