Mar. 3rd, 2012

fringifried

Mar. 3rd, 2012 12:40 pm
reverancepavane: (ale)

Ouchy. Definitely Fringe-fried. Even after the break I'm struggling to keep going. Tonight: Jenny M and the System on the far side of town. Tomorrow: Aluka (again), and Randy is Sober. Tuesday: Sound and Fury. Wednesday had better be a break again.L

ETA: Forgot Monday existed: The Twoks.

reverancepavane: (Eris)

I first heard Aluka when they opened for Clare Bowditch at the Gov. They were a last minute replacement and almost no one there really wanted to listen to them (two-thirds of them were the backing singers for Clare's New Slang). Anyway, despite trying to do a capella with a crowd of drunken louts who actually came here to see a different opening act, in avenue that is not a good one for such (the bar trade if nothing else is disruptive, even when no one is ordering).

So when they played the Grace Emily last year I went to see them again. Here, they rightfully silenced the pub.

Anyway, even if I wasn't a junkie for good a capella, especially from all-female harmony groups, I'd go see them (especially since my previous addictions of Arraimedeia and Jelelah are no more). In fact I'm going to see them again tomorrow.

Breathtakingly beautiful ethereal intimate a capella.

Hmmmmm (I was bouncing for hours after getting my fix the show.

ETA: Thanks [livejournal.com profile] molokov_au for the hint that people might like to know who I was actually talking about.

reverancepavane: (Adrienne)

Jenny M Thomas and the System. They can't all be Fringe picks. There version of Maggie May wasn't too bad, but I'm not sure whether that was just because it was the last song of the gig.

I suspect it was the mix (and judging from the reactions of the musicians in the crowd, definitely the tuning of the instruments), as the online samples I listened to sounded a lot better. Still I doubt I'll see them again.

Apparently "bush gothic" is code for folk-inspired jazz with an Australian colonial theme. Which is surprising, because the resulting music lacks both the thematic and musical depth common to either of these aforementioned styles. At times thin and strained, and at others disorganised and dischordant, the musicians often mistake intricacy for complexity, often to the great detriment of the work. There was little sign of discipline and leadership, which means the musicians were frequently playing against themselves in the improv sections, rather than to the audience. Vocals were thin and often lost in the mix. It may be to your taste, but it definitely wasn't to mine.

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Ian Borchardt

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