The location of Falls Festival is gorgeous. Falls Festival lies about 10 minutes inland from Lorne, a busy little beach town on the Great Ocean Road. The pristine drive along The Great Ocean Road showed off a mouth-watering ocean view. The sun radiated from a bright blue sky, scattered with wispy clouds. The soft blue ocean meandered gently into secluded beaches and rocky outcrops. The traffic moved at a snail’s pace, but there were no complaints. Limbs hung out of car windows, soaking up the blissful day. Lorne is but a slight detour, as we turned inland. Leaving the coast behind us, we climbed uphill into the thick bushland that lay beyond. In little more than 10 minutes we were greeted by friendly staff and gruff pommy security, who emptied our belongings onto the road in search of alcohol and glass. Bah!
The timing of our arrival couldn’t have been any better. We’d lucked-out and scored a prime camping position about 5 minutes walk from the festival entrance. It was close to toilets, showers and the bizarre Pleasure (village) and was sitting pretty well next to the main walkway. As the erection of tents concluded and the first drink was thrown back, Muscles vocals floated by our campsite on the wind “woo, ahh, woo, ahhh”. Any nostalgic excitement was quickly extinguished by rumours that he was doing a piano set. Cue: drink.
We wandered into the entrance on dusk to see the crazed antics of The Cuban Brothers. At the peak of their lunacy one member removed his G-String and yelled emphatically, “Don’t take Ketamine! it will shrink your penis!”, as he stood fully naked with a mangina. The Bamboos followed with deep funk and soul, climaxing with I Got Burned, the absence of Tim Rogers’ vocals unnoticed.
The highlight of the night was undoubtedly Furnace and the Fundamentals. Remixing their way through innumerable covers with a live band, Furnace traversed the entire back catalogue of every epic dance floor-killing song that ever existed with finesse and energy, sending the crowd into complete hysterics over and over again. What an end to the pre-party.
Saturday was the official first day of the festival. The festival area itself is quite compact. The Valley Stage sits at the bottom of a steep hill, flanked on either side by stalls and bars. The Grand Theatre sits on top of the hill – a huge red and white striped tent. Good food and drink was easy to find, and the stallholders were friendly and always keen to chat.
King Gizzard & The Lizard Wizard were the first to get the lazy crowd moving, starting a mini mosh pit with their punk-fused psychedelic rock. Splayed out across the stage seven members wide with the drummer in the centre, the grubby punks rocked out emphatically, as we bounced around in a mess of bodies and hair.
San Cisco provided a small change of pace on the Valley Stage, their sweet adolescent indie pop swooning the crowd like a kiss on the cheek from your high school crush. They sounded great live, in particular their cute-as-hell drummer, whose kit sounded superb. Sigh…any woman who can drum can have my heart. Tight as hell, the crowd sung Awkward and Rocket Ship with gusto. Their performance even allowed an overlooking of the terrible lyrics to Rocket Ship for a dance.
A big shout-out must be made here to the DJs who ignited the fun-filled dance offs that transpired between bands. They really kept a constant flow of energy over the course of the festival.
By the time Bombay Bicycle Club were on, the rain had arrived, making the hill facing the stage a giant slip-and-slide. A group of clever chaps made up of Channel V’ers and Art Vs Sciencers formulated a human tunnel (of legs) on the steep hill facing the Valley Stage. At one point there were 15 people lined up, and the only person who could make it all the way through was Jim Finn (from AVS) whose smooth jacket made him a human juggernaut. The summery vibes of Bombay floated up the hill, sending smiles over shivering bodies. Some tunnellers broke rank to dance to Shuffle, then ran back up the hill for a slide.
The good vibes continued as the rain halted and Django Django arrived in signature matching T-shirts. Opening with the throbbing synths of Hail Bop, they delivered their quirky guitar-driven synth pop from the very beginning with bundles of energy. It was the third time I’d seen them in 2012, and man did they bring it again, the bees knees of dancy synth pop. Playing the bangers from their stellar debut release, they had the crowd chanting, tribal dancing, and jumping for joy to their percussive goodness. Sped up versions of Default and Storm were massive, and Skies Over Cairo and Loves Dart were rapturous. Finishing with the apocalyptic siren of Wor, many were left gobsmacked about what they’d just witnessed.
Day One headliners The Hives arrived. Howlin’ Pelle talked. And talked. And talked. A few bangers were played, such as Hate to Say I Told You So, Walk Idiot Walk, and Go Right Ahead, plus their trademark teaser to Tick Tick Boom. The band turned a bit sour when a few drinks were thrown at the guitarist. Howlin’ Pelle shouted into the crowd, “If you fuckers throw another beer at my brother, I will come down there and kick your arse”. It was probably all talk though, seeing as they did talk a lot.
Day Two was opened by the driving rhythms and guitar riffs of Art of Sleeping. One of the crazy benefits of camping right next to the festival is that there is nothing like being woken by good music, let alone some of the best live music on offer.
A leisurely stroll into the festival on lunch was met (once again) by amazing music. This time Ball Park Music had the stage, ushering a chirpy “cheers cunts” to the audience as I eagerly awaited my bacon & egg roll and coffee.
The real surprise package was inside the Grand Theatre tent where Regular John delivered a sweltering set of hard rock. Their sound delved into 90′s alt rock territory with new single Slume, with a slight Billy Corgan tinge in his voice.
Jinja Safari pulled a large crowd in the Valley, but those expecting their usual antics were left disappointed. There was no stage climbing or Pied Piper follow-the-leader runs. Maybe it’s a sign that they’ve become serious musicians in recent times. As their music matures so do they. Their energy is still as enigmatic as ever, with live bongos and a naked saxophonist banging out tunes.
SBTRKT was one of the most highly anticipated sets of the entire festival. Given the strange time and setting of 6pm on the Valley Stage, SBTRKT arrived to monstrous applause and buzz, with Sampha on vocals and keys, and mastermind Aaron Jerome on live drums. The live drums allowed for some juicy live remixing of the percussive elements of each song. The biggest was Wildfire, which was masterfully mixed, so much so that no one even picked up on the intro until the synths and standard rhythm kicked in. Sampha’s vocals were stunning: so rich during Something Goes Right and Hold On, all the time layering percussion and samples with huge effect, simultaneously giving each song a different sound and feeling. SBTRKT recordings already have monstrous dancy energy, but live they take it to the next level, pushing it up a notch on heavier dance tracks like Sanctuary and Heatwave. Stellar!
Flume could have been mistaken as a headliner – the crowd in the Grand Theatre tent was so tightly packed that it clogged the entrances and squished those inside. People were climbing the fence on the road side through thorn bushes to get a glimpse of the dance music maestro. A warning had to be ushered before he started, it was so full. Opening with the trademark wob wob of More Than You Thought, he tore through his back catalogue. No crowd erupts as massively as they do to Flume. Dance offs were rife. People got low. Bodies flailed to and fro, up and down. There was moshing on shoulders. Hair flailed around like crazy. His latest single with Chet Faker was the most chilled of all his tracks. A new overlay of Kendrick Lamar’s Drank dropped over the top of The Anthem instead of his trademark Biggie Smalls mix.
Many were forgiven for confusing Flaming Chips with The Hot Lips. It was late, and they were both equally hot. Catching the end of Flaming Lips after Flume was tasty, his visual show an absolute ball-tripper to say the least. Singer Wayne Coyne ran around smashing a giant gong, which lit up in blinding flashes of light every time, hordes of female dancers crowding the side of the stage with psychedelic dance moves. Hot Chip were a step away from their psych rock, opening with Shake a Fist. Live, Hot Chip are an entirely different prospect. Their nerd chic oozed confidence as they nerd-danced around their instruments enthusiastically, the bass reverberating up the hill. Their female drummer Sarah Jones absolutely smashed her kit, incorporating some quirky instruments like a Caribbean steel drum, which didn’t look out of place next to DJ decks and guitars. Over and Overwas an unbeatable classic that didn’t seem out of place among new tracks Night and Day and These Chains. Their Fleetwood Mac cover of Everywhere was a nice touch on an awesome set.
The weather on Day Three of Falls Festival sealed the run of great weather, proving to be just as hot as the rest. I began the day on the highest hill to soak it all in. A sea of tents, cars and marquees curved their way across the open fields, encased by tall, towering gum trees. The sun shimmered off thousands of car windows in the valley. Trails of people scuttled along the paths that dissected the human settlements.
First Aid Kit captured the essence of the gorgeous summer day with their stunning Swedish folk music. They appeared on stage young and pretty, with a distinctive Bohemian vibe. Their long, straight hair hang lank over their cute animal tees. Two cute little girls danced around on the stage next to them as they sang The Lion’s Roar and Wolf with guts, their voices belying their youthful appearance. Their influences are far between. They stated a love for ABBA and then finished a song with a heavy riff from The White Stripes.
Sampology brought us into the night with a tribute AV DJ set with some masterful mixing of movie clips that was at times punchy and at times disjointed to account for the speaking of artists. No one really minded the long-winded 20th anniversary speech by the festival organiser and his parents because 2 Door was here to bring in the new year in style.
A beautiful full moon and scattered cloud flanked blue neon-lit trees and a yellow-and-red-lit stage as Two Door Cinema Club arrived to huge applause. From the opening of No One Can Talk, it was clear that they have matured past their age from the young party starters they were off the back of Tourist History. They were so tight at times it was hard to tell the tracks apart from the recordings, from which they rarely strayed, ripping through their biggest hits in Undercover Martin, What You Knowand Cigarettes in the Theatre. They warmed up the crowd for the new year coming with new tuneNext Year, then broke in the new year with banger What You Know. The sky exploded with confetti and hands as everyone indulged in a random or pre-planned snog to break in the new year in class (or lack thereof). Two Door Cinema Club – all class.
Review originally for Music Feeds http://musicfeeds.com.au/gig/falls-festival-lorne-20122013/
Outside In Festival promised a tantalising lineup of exciting new and established alternative electronica. It was so good; they knew no one would want to leave. Thus, stamping a ‘no pass outs’ sign across the foreheads of staff and security – weirdos. Initial confusion on the triple stage set up in one venue was quite self-explanatory: they had three good dance rooms. The courtyard GoodGod Courtyard sending chilled beats floating into the afternoon sky as a teaser for what was inside.
Polygraphia playing The Factory Floor stage
A sign above a small door to the side of the courtyard read ‘The Factory Floor’. No it was not a sweat shop work floor. It in fact led to a small, dull room that was completely black. Floors, walls and ceiling. When crammed full it became quite clammy, or in Collarbones words “it’s so moist in here I can barely think.” The only light emerged from a large screen projecting images behind the stage, and a single laser shooting beams of green light into the crowd’s line of vision. It was packed. Polygraphia fumbled around with their glitchy electronic sound; the duo moving from drums to guitar to sample pads in a bit of a mess. Their beats as slightly off cue as their image; the lead singer’s bowl wonky bowl cut giving him the appearance of a tall human mushroom. Their saving grace was a single green laser that entranced everyone as it cut mind boggling shapes in the air through a thick layer of smoke – stars, cylinders and bars all produced in three trippy dimensions.
Mighty Boosh fans look this band up: Holy Balm. They hold an uncanny resemblance to Noel Fielding’s band ala Electro Boy. The man on keys channelled Johnny Two Hats, playing juicy 80s synths with stiff posture, tapping one heel to the beat. He introduced a song in a high class London accent. If only he was wearing a suit. An odd looking blonde stood as the central figure behind a drum kit, hitting symbols at random with whimsical strokes, moving her hands painfully slow, like one of those really annoying wizards in Harry Potter trying in vain to master a spell – Neville Longbottom perhaps. I’d watched enough Mighty Boosh. Time to go Fishing.
Fishing are the real deal. A packed Factory Floor were witnessing full, well rounded and measured glitch. From front of stage I looked back and witnessed a full room bobbing their heads in unison on the beat. One of the duo grabs the mike and starts rapping. He’s white and wears his collar top buttoned with hipster glasses, yet he raps with eye opening conviction about smoking weed. His voice layered with low end to give it more attitude as he raps “I’m rollin’ double sixes, I'm rollin' double sixes. Cash in my wallet, purple in my system.” Each verse exploding with more energy, egged on by intense strobes. His vocals changed suddenly - auto-tuned to a cartoonishly high pitch. The crowd smile at its cheekiness. The songs bombastic ghetto beat causing the dancefloor to writhe ecstatically.
A journey into the Main Room was greeted with the ability to breathe, the expansive space filled with the ghetto crunk and trap stylings of Triple J’s Lewi Mckirdy. Dressed like a grungy 90s dude with skull cap, rocking the classic high socks and skate shoe combo like it never went out of fashion. He couldn’t possibly be warming the crowd up for HTRK – their moody, down tempo sounds the opposite end of the electronic spectrum. It made no difference, starting 40 mins late after a solid half hour of technical difficulties. As HTRK start, Janine’s concerned look turns cold. Her eyes glaze over, staring dead pan straight ahead. The stage is drenched in moody purple lighting that meanders in slow circles. Images permeate the screens coming in and out of focus, often turning blank to cast the duo’s shadows onto the screen behind. The songs themselves are a haze of guitar feedback and drenched sounds, her vocals echoing dark and moody emissions into the large space. Their gloomy, ethereal songs perceived ungratefully by the impatient murmerings of the crowd.
A buzz of expectation precedes Oliver Tank. Quickly justified by opening with an amazing remix of Last Night I Heard Everything In Slow Motion, changing the structure adding new lyrics and a nice xylophone progression. His atmospheric sounds sliced only by his sweet voice in Beautiful, “I just want you to know you’re really special.” His love of Snoop Dogg made less subtle by Dropping It like its Hot, playing experimental guitar over the top. The crowd lapped it up, giving him huge props. Pretty stoked that Flume was next on.
Rapturous applause greeted Flume’s arrival “I dropped an album yesterday, so I’m gonna play some tracks off it for you”. Hells yeah he did! He opened with the signature wob, wob, wob of More Than You Thought. It’s so filthy – the crowd loses the plot immediately. He follows up with his gorgeous Chet Faker collaboration Left Alone, the driving rhythms of Insane, ghetto rap number On Top and the fun and funky Ezra. Flume is dead set the only dance producer that can consistently make an entire crowd lose their minds and dance like lunatics. Bodies flail everywhere, thrown to and fro. Not from the hip or waist, but the entire body. Small circles emerge and dance offs ensue. Everyone loses their inhibitions because everyone is like minded and no judgement is passed. Oh, except for one weirdo girl who consistently kept trying to put her finger in my nose (what the fuck). After her fourth attempt I had to give her the flick. Almost a vibe killer. But come on, nothing could possibly kill Flume’s vibe.
Rapturous applause: Flume
Wandering outside I experience the casino effect - day had suddenly turned to night. Chilled house music flows from the sound system and a crowd lap it up. A great aspect of this festival is that wherever you are, there is always space to dance. Even though it was sold out, the spreading out of the stages meant that you were never so crammed you couldn’t move. That’s what it’s all about!
Outside In was an alternative electronica festival for alternative people. The best dressed and best looking crowd I’ve ever witnessed at a festival. Next level style was everywhere you look. Everyone was there for the music and to enjoy it to the fullest. People get so into it and dance so looney that you feel encouraged to let loose and dance like no one is watching. When the music is cut on stage closer LV’s filthy UK drum n bass banger Sebenza
, the crowd shuffled out shouting “rubber bullets” (best lyric). The silence is piercing - no one wanted it to finish. Especially our ears.
Written By Andrew Nock for Music Feeds
Adam and Andrew from electronic DJ/production duo Doctor Werewolf drop in with Music Feeds at Fat As Butter Festival to talk bass music. An ever present force on Australian festival lineups, tours and club nights, Doctor Werewolf know better than most just how much the Australian scene is growing. They talk about the benefit of Festivals like Fat As Butter getting behind bass music as it grows domestically, and huge impact exports like Knife Party are having on the local scene.
Doctor Werewolf are experiencing success also, with their latest EP Wolfzilla tracking incredibly well on Beatport. Keen to build on the success and enjoyment of Wolfzilla, they are aiming to get straight back into the studio to deliver more original material. Keep an ear open for Adam's MCing on future releases.
Wolfzilla out now via Beatport
Groovin The Moo returns for its 8th incarnation as the nation’s largest regional touring festival with a line-up to wow even the most tight-arse of festival goers. Snagging a record 10 international artists this year, the most impressive being the highly political hip hop collective PUBLIC ENEMY! Exciting Cherry-popping visits are on the cards for Chiddy Bang, alongside Triple J feature artists MUTEMATH (so freakin thrilled!) and The Maccabees. Bringing the party will be explosive German electro duo Digitalism, dance floor fiends Adrian Lux and Beni, all backed by the abrasive party-rocker Andrew W.K. Joining them will be local heroes Matt Corby, San Sisco, Kimbra and 360; who all achieved unbeatable top 10 finishes in Triple J’s Hottest 100 of 2011. To appeal to the new-wave of stingy festival punters, festival organisers have attached the measly festival price tag of $99 (I know what you’re thinking.. “under $100 NO FREAKIN' WAY!”), making it the most value for money festival around! The full line-up is as follows:
Public Enemy (USA)
Kaiser Chiefs (UK)
Andrew W.K One-Man-Party Tour (USA)
Adrian Lux (SWE)
City and Colour (CAN)
The Maccabees (UK)
Chiddy Bang (UK)
The Getaway Plan
Naysayer & Gilsun
Purple Sneakers DJs
++ more local and triple j unearthed artists to be announced!
Tickets on sale:
Tues 14 February (from 9am local time) – Bendigo VIC
Wed 15 February (from 9am local time) – Maitland NSW
Thurs 16 February (from 9am local time) – Townsville QLD, Canberra ACT & Bunbury WA
Groovin The Moo 2012 Dates:
Saturday 5 May 2012 – Bendigo VIC
Sunday 6 May 20112 – Townsville QLD
Saturday 12 May 2012 – Maitland NSW
Sunday 13 May 2012 – Canberra ACT
Saturday 19 May 2012 – Bunbury WA
In Public Enemy's own words: BRING THE NOISE!
Day Two. Hungover. Lethargic. Hungry. Hurting... and PUMPED for another EPIC day of nonstop musical talent from all parts of the globe! Bring on day nummer zwei of the Splendour Bender!!
Kicking off the day two preceedings were Cut Off Your Hands at the Ampitheatre. The volume they were allowed by the stage crew was not audible enough for the huge Amphitheatre stage, and sitting on the hill, the sound was not great, slightly muted. They put on a good performance, playing a variety of slower songs mid set, and bringing home with the more upbeat crowd favourites Expectations, Still Fond and Oh Girl. It was far too early in the day to move, and the sparse crowd were clearly recharging their batteries from a huge first day.
Sticking to the Ampitheatre to witness a new found pleasure of mine, Dananananaykroyd, the band were very eager to get the static crowd moving with a lively entrance and a crowd interaction that I have never witnessed at a large festival. They had enough vigour to get me up and into the mosh pit after one song, to get me dancing, singing and partying! Having two lead singers gives Dana the confidence to innovate and interact with the crowd a little more intimately. Both of them jumped down into the crowd, forming a small circle pit, and showing their hardcore roots, screamed to a seemingly improve backing to the crowds delight! Shortly afterwards, the two orchestrated, very successfully a “Wall of Hugs” in sheer contrast to the “Wall of Death” which is popular in metal circles, they separated the mosh in 2 halves and on cue, both sides ran at each other, hugging randoms, and making new friends. It worked! Wow! Over the course of the weekend, this was without a doubt the most fun I had during a performance, and the most randomly awesome set! Just as impressive was their music, which was played with a vigour that is unseen for early bands in a 1pm slot, most impressive were songs from their debut LP, Hey Everyone! such as Some Dresses and Black Wax.
Foster The People
were next, and it was very clear they were a hugely popular attraction, with the high amount of airplay on Triple J
in the past year for Houdini
and Pumped Up Kicks
, the audience were SO into the music, and received such an incredible response to the crowd, it provoked an honest response from Mark Foster “I seriously can’t believe this.. it’s the most amount of people we’ve played for that actually sing along to our songs! You guys have such a music culture.. it’s all about the music here!”
The Mix Up Tent was an absolute sess pool of dancing, flailing, singing, and screaming bodies when Pumped Up Kicks
was played. This was definitely the anthem of Splendour 2011. Check out the Triple J
live recording of this song (and more) below! Definitely worth the long intro!http://www.abc.net.au/triplej/events/splendour/11/onstage/
Sticking around the dance-infused Mix Up Tent for Muscles seemed like a good idea. The crowd were hungry for the electro-dance infused songs which gained him huge popularity however many years ago they came out. However, Mr. Muscles opted for a very unorthodox approach, taking the stage solo for the entirety of the set, with different instruments placed around the stage, deciding to play 3 different renditions of Ice Cream, one acoustic, a new song Koala, an average song that cued a bunch of people in Koala suits to come out and danced in a silly manner (so original!), and a few others I couldn’t really remember. The most bewildering part was how he kept yelling “WE LOVE MUSCLES!” I don’t know if this guy has self-esteem issues, but it just comes across as if he is trying way to hard for people to like him. Unfortunately, probably the most unimpressive live act of the weekend.
Architecture Helsinki rekindled my love of Australian alternative music with a thoroughly enjoyable set that embraced all of their nerdy quirkiness, in both personality and the music. Very deserving of their late spot on a main stage, they were thoroughly entertaining from the very beginning, inspiring much eccentric movement among the spectators. Unfortunately I had to run to Mars Volta before personal favourites Contact High and That Beep were played, but I was left thoroughly satisfied.
The Mars Volta was very high on my list of bands to see. A clash with Architecture wouldn’t stop me from dying to rock out to their technical rock. I had an unfortunate moment at Big Day Out when watching their set and rocking out, bouncing around, headbanging incessantly, my friends, a little down on their appreciation of hard/technical rock, dragged me away to see someone far less impressive. Time for redemption! Omar Rodriguez and Cedric, the original pairing from popular rock band At The Drive In, were in full force, bringing their unique take on rock, fusing elements from many different genres into a highly technical and mind-bending sound. Their presence was felt from the very moment I walked in, their aggressive style drawing similarity to the popular acid-rock of the 70s, and during Omar’s extensive technical, and shredding guitar solos, I got the feel I was witnessing a modern day Jimi Hendrix in full flight! The drummer was playing so hard and passionately, Cedric putting every breath of life into his howling vocals; the bassist and keyboardist just melted into the high voltage melting pot of Mars Volta’s juggernaut of a performance. MASSIVE!
A bried cameo by soft rockers Gomez were next, followed up by the gorgeous Regina Spektor, beginning the set as a picturesque sole figure on stage seated at her grand piano, with a single light illuminating her soft features and measured movements. Inside the G.W Mclellan Tent, there was a noticeable problem with the sound. It was not as loud as it should have been, and was blurred somewhat, apparently from the heavy dance tunes that the nearby Mix Up Tent were emitting, and also by the crowd, who were either singing along to her songs, or murmuring amongst each other. It would have been a thousand times better had the sound been clearer, but it wasn’t hard to appreciate her immeasurable talent, and equally immeasurable voice, which is one of the most unique female vocalists I have ever come across. Regina’s renditions of Samson, Blue Lips and Fidelity were as lovely as ever, and got a great reception. Such a shame about the sound problems though.
PNAU closed DAY TWO with an absolute killer showcase in some of the best electro dance music this country has to offer. With a very evenly spread setlist which featured songs off their brilliant (and personal favourite) self titled LP Wild Strawberries, Baby and No More Violence; a selection of tracks off their freshly dropped, and recently Triple J Feature Album of the Week, Soft Universe including new favourites The Truth and Solid Ground. Nick Littlemore was in full swing, and proved once again why he is such a key player in modern dance music (also with Empire of the Sun and Teenager). There was much crazy dancing, fist pumping, bouncing, shouting, and general delight as PNAU delivered a monstrous set of joyous proportions to a joyful audience. The perfect way to cap off the day!
HOLY CRAP! Death From Above 1979
, Little Dragon
, Adrian Lux
, Flux Pavillion
, Magnetic Man
, The Gossip
, Katy B
, Crystal Fighters
, Simian Mobile Disco
, Naked & Famous
and more! This lineup is so immensely impressive I can barely control myself. It is perfectly weighted with artists from every realm of dance music. So many of these artists just make me want to loose my shit when I listen to their music (and dance uncontrollably), this parklife is going to be a guaranteed dance-fest from the moment it kicks off! Tickets go on sale June 30 and there is a presale function on the website for those of you who don't want to miss out (including myself). Check it out at www.parklife.com.au
Its a huge enough drawcard for DFA 1979 to be on the bill, but to back it up with such quality acts, including prime dub step artists in Flux Pavillion, Nero and , this is sure to be a winner!
For those of you who don't know DFA 1979 they are fucking huge! They caused a riot at SXSW festival there were so many punters trying to catch their show, they completely outstaged Kanye West, Jay Z AND Foo Fighters with their prescence. They booked every major festival this year with their reunion announcement, after 6 years in oblivion: SXSW, Lollapolooza, Coachella, Leeds and Reading Festival, and festivals in about 10 other countries. The dance-punk duo play synth infused dance-punk using drums and bass alone. But by god do they make a huge racket!
To get a taster for what they do, there are some sweet videos on their blog, including a rehearsal filmed from Grainger's bass http://deathfromabove1979.com/blog/
, and some footage from the riot at SXSW. I can only hope for a repeat at Parklife!