Akron/Family, Gallery of Modern Art, Friday 30th of September 2011

Akron/Family are could be best described as harmonic folk transformed into drug induced tribal psychadelia, or something that makes more sense. It's not easy as they go into all sorts of territory, becoming more complex and layered as their albums progressed. Their self titled debut was my first taste of the band, whom I discovered on a Spunk Sampler that was attached to my copy of 'Come on Feel the Illinoise' by Sufjan Stevens. That first album was the beautiful harmonic folk side of the band, with moments of synth, distortion, and tribal country elements without taking over the gorgeous flow of the record. First impressions often have the most impact and hence their first is my favourite, but that's not to discount the brilliance of their later albums, particularly 'Meek Warrior', 'Set 'Em Wild, Set 'Em Free', and their latest, 'S/T II: The Cosmic Birth And Journey Of Shinju TNT' which is fast becoming a favourite of mine this year. As they've continued to grow, the harmonic folk has remained in some way, but morphing into more of the crazy features that were peppered in their first album.

Fittingly, A/F's first Brisbane show was chosen as the closing act for the Gallery of Modern Art's (GOMA)latest 'Up Late' season. 'Up Late' involves musical artists playing in the gallery hall every Friday night for a number of weeks, as part of their latest exhibition. This season's exhibition involved Surrealism, and due to A/F's regular exploration into the slightly weird and abstract, there could not be a better choice for musical guest. While I enjoy my visual art, I'm a bit art retarded, which is not why I hadn't checked out the exhibition before tonight, that was mostly due to laziness. I regret this, as there wasn't much chance to truly explore the ins and outs of the gallery on this evening. Things had changed since I last went there, with an inside bar leading up to the stage area and funky lounges and chairs around for pre-drinks. Pity there was not only no sign of an ATM around, but also a ridiculous queue, or I possibly could have enjoyed this new set up. That's my only whine I promise.

Anyway, the 3 (only 3?) bearded members of the band came on slowly, Miles on the synth/loops/crazy dodads, Seth on guitar/crazy dodads, and Dana hiding away at the back on drums/crazy dodads. They began to build up a bit of a synth wall of sound for what felt like 20 minutes but was probably more like 5... or 10. Instrumental blare is fine, but it worried me slightly that this was all going to be difficult abstract noise rather than structured songs. Luckily I needn't have worried, as they finally launched into "River", sounding crisp and fresh, and absolutely jubilant. The band continued through a few more earlier songs, such as "Ed Is A Portal" amongst most tracks off their new one. Highlights included the murderous bass and then cheerful philosophy of "A AAA O A WAY/So It Goes", the lovely "Light Emerges" with Seth on vocals, and "Another Sky" in which not only did their guitar fiddling skills get a work out, but so did the audience vocals in a well encouraged sing-a-long. It was also where Miles and Seth decided to get down and have a jig with the audience, looking more excitable than some of the audience members.

Interspersed within and between songs were more electronic jams, including at one point an explosion of what sounded like distorted scratchings of a record overblown to leave me clutching at my ears in pain. Half of the time these moments were delightful soundscapes, the other half, I found myself trying to send telepathic messages for them to get on with it. Nonetheless, weird indulgent instrumentals are what come with the style and territory, and it did flow quite well and connect the songs together nicely, in most cases. Even when Miles decided we all had to close our eyes with one hand up in the air, and relax for a few minutes.

When things got melodic, it was absolutely gorgeous, and true to the album tracks in every way. They swapped vocals, roles and instruments effortlessly with an amazing group vibe. Their harmonies were magnificent and so lush and perfect, it was hard to believe there were only 3 guys onstage. When harmonic indie bands are pretty in at the moment, I think these guys give the others a run for their money, even the likes of Grizzly Bear and such, whose live show I feel was vocally not as collectively, consistently good.

The sad fact of the gig was the fact that nothing from my favourite album was played, which I had convinced myself would happen, strangely enough. I naively would have loved to hear some of the acoustic offerings from it but I had thought they would at least play "Running, Returning". At least for their Brisbane audiences on their first show here? I assume a gallery show does reduce the setlist somewhat however, despite being an awesome venue choice.

As has been the custom for me lately, we were ushered out within 10 minutes of the band finishing up. I know, I lied, my earlier whine was not my last. But if GOMA is going to call something "Up Late", can they at least give us a bit of time to exit the gallery instead of demanding we leave at 10.30 on the dot? Aw come on. Please?

GOMA has made Brisbane a hundred times better than it was though, so I should shut my whiney mouth. I still love you GOMA, especially for hosting one of my favourite bands in all their bizarre glory.

Akron/Family get 8 out of 10 self made theremin thingies.

I said do it again, do it again (turn around GO BACK)

GOMA, or the gallery of modern art to you non-brisbane folks, is an absolute godsend and has improved Brisbane million fold. At the moment they are exhibiting "Let There Be Rock", a cinema program, where they are showing an amazing range of musical act movies, from The Wall to A Hard Days Night to Spinal Tap to D!G... Ahhh it's a fantastic program. You can, no should, check it out here: http://qag.qld.gov.au/cinematheque/current/let_there_be_rock.

Anyway there are so many I am hoping to see, and today I started with probably the number one movie on my must see list, D A Pennebaker's Ziggy Stardust and the Spiders from Mars. I'd seen it before many years ago on DVD, and it was before my insane David Bowie obsession truly formed, so I had not retained quite so much of it. As it stood, it was a striking documentary, simply capturing the last show of the Ziggy Stardust and the Spiders from Mars tour, and the 'last show we'll ever do' (everyone of course freaking out until realising that the character of Ziggy Stardust and his Spiders were disappearing, eventually making room for Bowie's next character). I sat there mesmerized and enchanted by the entire film, heart in throat as if I was actually an audience member with 70's hair and undying adulation for the glittered slenderman in front of me. I found it difficult not to clap at the end of each song and was relieved when audience members eventually relented and did so themselves.

Let's get real here though people, in many aspects it's not the best filmed documentary. Onstage the camera captures much of Bowie and the band's action, including wonderful detail... for example, the close up while he plays the last verses of "My Death", captures a tear forming and streaming slowly, adding extra depth and passion to the words of the song. However, any camera work directed at the audience is pretty shockingly done, so that there are great big spaces of darkness, amid bad resolution shots of ladies with massive glasses and screaming mouths. It's also weirdly put together, so that a few of Bowie's entrances are totally missed or delayed, with the camera choosing to focus on blurry audience members instead.

What makes it, is him, and the band. Mick Woodmansey, while mostly hidden from the camera, is dynamite on the drum kit, nailing every fill and driving the whole process. Trevor Bolder also doesn't share as much film time, but his presence on the bass is everywhere. Mick Ronson, god of guitar, is nothing short of fucking motherfucking amazing. He effortlessly fingers the electric like he could do it in his sleep and totally steals the show. Meanwhile, Bowie takes his place front and centre, gaunt and bony, with his electrified hair, awful teeth and multiple coloured eyes, no doubt in full throe of his cocaine addiction, and obviously so. Through what feels like 20 costume changes and androgynous makeup, his emotion filled vocals, theatrical stage moves, and his general Bowie charm, this plain and simply ugly man, turns into a sexual madman. Yes, had I been a teenager (or anyone really) in 1973, I would have been absolutely mad for it. David Bowie, and his Ziggy Stardust persona, is a perfect example of what a presentation of oneself can do for one's charisma and desirability. As well as a little mystery.

I honestly do NOT believe in this day and age that anything as amazing and anyone as talented and creative and dynamic as Bowie will ever take over music and life as much as he has. Granted, his 80's-90's catalogue is pretty lacking, but dammit, the 80's-90's was kind of a shitty era for consistently good music (thanks to marketing and the paint by numbers industry). But the humorous thing about that scene in 'Extras' with Andy Millman coming up to his idol to wonder if he'd sold out, was that, at least in the decade where he held the world in the palm of his hand, David Bowie could never say that he had sold out. He broke so many rules in the music world, through his personae, his imprint on the media, and most of all, his music. Half of 'Heroes' is rarely listenable to me. 'Low', is my parents worst nightmare. But Bowie wasn't interested in pleasing a body of people, he was interested in experimenting, trying different sounds, and as a result, "Low" was WAY ahead of its time. He has inspired more artists than people realise, even if they turn into horrible pop monsters like Lady Gaga.

After this film warmed my heart, I couldn't help but lament on the fact that I do not live in the 70's, and Pennebaker's film was the closest I was ever going to get to that amazing moment. David Bowie may (oh, PLEASE) tour here again, and it will be epic... I would be the happiest girl in the room would it happen. But of course, he is a much saner, and older person now (and I have to say, he's aged better than he should have). The magic of glam, groundbreaking live music is over, and in its place is a memento of what was. The what was, I never experienced nor ever will.

In the 60's and 70's, what was played on the radio, was actually pretty good. Have you ever wished you were born in another era or place, and you got stuck here when you were supposed to be somewhere else? Sometimes I feel mad that I'm in a world where Justin Bieber is a household name, and a The Books gig isn't even half sold out in a small room.

But I'll stop feeling mad, and instead grateful that I got to see a classic live performance on a big screen, and thank GOMA for making it happen, and see some more terrific shows at the same venue. AND SO WILL YOU.