Wednesday, October 7, 2009
FLIP OUT 2009
Finally it rolled around, the second annual Flip Out Music Festival, to herald the beginnings of all things festive and the return of that inner-idiot you left behind somewhere around Easter.
Repairs kicked things off with apocalypse keys and thunder percussion. It’d be easy to conceive that at the time of judgement, when the good people are diverted towards the light accompanied by some naff ABBA soundtrack, the bad people will be mustered into a hot and dark spiralling corridor with Repairs grinding out a death march.
The Twerps lightened things up, as they have a fabulous tendency to do, and kicked out some of the finest good-time music of the day. Their sound was bigger on this occasion than I’ve heard before, and some of the roomier numbers were downright goose-bump inducing.
Teen Archer was a contender for the spirit award. Their cover of God’s 1987 smash My Pal proved the highlight, especially given the tech difficulty which resulted in an extremely lengthened version—I could listen to that lick forever.
Dick Diver are the kings and queen of smooth. Every move is pure apple juice. A nice sax cameo enriched their groove while forays into keys added colour to some fine pop rockery and a reprieve from the onslaught.
Tassie’s The Native Cats were the surprise of the day. This two-piece mixed it with any of the larger outfits in both sonic thrust and aesthetic. Peter Escott is one charismatic and captivating fella. His vocals shifted through poetry and rhyming staccato, while Julian Teakle’s bass walked a marathon.
James Arthur’s Manhunt lived up to the hype I’d perpetuated in my brain. A proud ginger, Arthur’s command of American riffery and feedback is astounding. Their dusty desert storm grew and twisted to frenzy. With the beer taking hold (on both myself and the singer), this set proved a turning point of sorts. Everything ramped up a couple of notches and things started to get crazy.
Slug Guts pulled out their A-game and I was glued. Where I found the barking a little tiresome on the album, it captivated on stage and their song structures are unquestionable.
The Disbelievers pulled out some fairly straight but flat-out booty shaking rock-n-roll. My only question of their music would be a slight lack of lead melody, a little more would take great songs to fantastic.
This is where things get a little bit hazy, but it’s safe to say that Goodnight Loving jangled it up a bit with some super-light country pop goodness. Then the Ooga Boogas (on this occasion renamed The Doors due to possible legal problems surrounding their regular moniker) brought the party to the people with atypical good grace and tongue-in-cheek crotch gyration.
From hazy to absolutely hammered, all I can say about Wisconsinite Pink Reason’s set is that it dawdled into a crawl into a trot and around again. There’s an unhinged-ness about this guy that perfectly matched my own (and a fair few other’s I’m sure) state of inebriation at this point.
Super Wild Horses were the only recall from last year’s line up and their progression from then to now is almost unbelievable. Naked on the Vague and Royal Headache were a blur and I’d be making shit up to say I remember a sausage of either of them. But such is the nature of this festival—beer and great music and sausages and beer—you’d have been hard pressed to wipe smiles from dials all day. Once again a scene-less festival about music for people who love it, let’s hope it’s back again next year!