10 Quick Questions with Young Revelry

Perth’s Young Revelry are about to take their fuzzy rock sound across the country on their first headlining national tour. Still riding on the attention and success received from their debut EP that was released almost a year ago, frontman Sebastian Astone took some time out to chat about touring as a relatively young band.

You’re just about to embark on your own national tour, what are you most excited about?

It’s always cool to play to people so I am probably most excited about that. I think we are really excited about being able to play some new tracks as well and see how they go down live. I think we might be playing somewhere where it snows; I’m also really excited about this.

What are you looking forward to about playing in Brisbane?

Brisbaneis always fun, it has a weird vibe to it. It feels like there aren’t any buildings built prior to 1989. I am looking forward to channelling this energy into our set, and also the prospect of playing somewhere potentially warmer is great.

You’ve toured the southern states quite extensively, what has been the highlight so far?

Playing our first show as a three piece in ages at the Factory in Sydney was a lot of fun!

Do you prefer playing smaller shows in more regional or bigger ones in capital cities?

They are both great – bigger venues are usually cool because you can hear yourself, but if we are playing in a smaller venue and it’s really packed out it can be amazing! So both are good given the right context.

How has your debut album You and I been received since its release?

We released it almost a year ago and it’s been odd, some people seem to be only noticing it now. I don’t really know how it’s been received I try not to read reviews anymore because I think they can effect the way you play. But You and I has had some great reviews which is cool.

Who have been some of your main musical influences over the years?

We all have pretty diverse musical influences; everybody has an appreciation of good songs in the band no matter what genre.

Young Revelry has had some pretty awesome support slots over the last year or so, has there been a standout?

We have been really thankful to any band that has given us the opportunity to play to their crowd. The Children Collide tour was heaps of fun because there were a bunch of good mates around, we played some gigs with You Am I that were a lot of fun too. I was amazed at Tim Rogers’ and Davey Lanes’ guitar interplay stuff.

What would be your dream gig/tour?

A tour of purely holiday destinations, this has been a dream of mine for a long time… still hoping.

What can the uninitiated expect from a live show?

A bunch of idiots with loud guitars and average haircuts.

What does the future hold for Young Revelry?

Hopefully something intriguing and fun… will let you know!

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EP Review – Young Revelry ‘You and I’

Perth quartet Young Revelry have been floating around just under the radar for the past year or so now. They’ve been getting a fair bit of attention on their Triple J Unearthed page but certainly not being overplayed to the point of saturation. Their debut EP You and I showcases what the group has to offer, their accessible hard rock style reminiscent of British India or Children Collide and even at some points the early 90s grunge of Alice in Chains (the opening of ‘Reckless Minds’ being the prime example). You and I opens strongly with the title track, blending perfect pop craft with a heavier edge. ‘Nineteen Seventy Three’ is by far the stand out track, from the chunky opening bassline to the slight snarl of the moody vocals. The letdown though is the closing track, ‘A Noiseless Patient’.  As much as I believe there is a place for instrumental tracks, I don’t think they belong on EPs with so little room to show what you have to offer, and particularly as a closing track. It feels like it was tacked on as an afterthought and adds nothing of value. However with the omission of the final track, You and I is a flowing, and easy to listen to extended play.

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Sunset Sounds – Day 2

Wow. Didn’t think it would be this long between posts. Apologies about the delay all….not long after my last post, my internet was disconnected and I’ve spent the last couple of week frantically trying to find a new roof to put over my head. Thankfully I’ll be moving house next week and I’m hoping that the Internet will be set up soon after! In the mean time…..finally, the second installment of the Sunset Sounds review.

 

The rain was pouring before most people even set foot inside the gate, but looking amongst the sea of ponchos it was obvious that everyone came a little bit more prepared for the weather. Laneous and the Family Yah started proceedings, and you have to give them credit for the amount of energy they poured into their set.

Up next were Boy and Bear, who delivered a lacklustre set that was barely audible.  Their most popular song by far was their cover of Crowded House’s ‘Fall At Your Feet’, but their Triple J spins ‘Rabbit Song’ and ‘Mexican Mavis’ both received generous applause as well.

A great deal of the crowd charged up the muddy hill and over to the River Stage to witness the Children Collide set. The group powered through their more popular tracks ‘Across the Earth’, ‘Farewell Rocketship’, ‘My Eagle’ and ‘Jellylegs’. The band held themselves well against mediocre weather and fairly complacent crowd, but didn’t seem to try and go above and beyond their regular entertaining set. ‘Social Currency’ was the biggest hit with the crowd, as would be expected, and one of the few tracks that really got the small mosh at the front of the stage going. Unfortunately the set really should have ended on this high note, but the band launched into an extended grungy instrumental that paled by comparison.

By the time The Morning Benders took the stage, most of the crowd was ankle deep in mud. Surely this would have been a worry for the band, who were on their first tour of Australia, but if they were concerned about the reception they certainly didn’t show it. The band delivered a mostly mellowed out set, suiting the atmosphere of the afternoon perfectly. Those less familiar with the band enjoyed a cover of Fleetwood Mac’s ‘Dreams’ before finishing off the set with a sing-a-long rendition of ‘Excuses’.

Expectations for Joan Jett and the Blackhearts were mixed. Some were dying to see this legendary artist perform while others were sceptical that it may end up as a lifeless performance done solely for the cash at the end of the night. However from the opening bars of ‘Bad Reputation’, Jett and her backing band had everyone simply captivated. Her energy throughout the set far surpassed many of the younger bands playing before her today and it was without a doubt that she still loved rock and roll (and the love seemed to be rekindled in most watching judging by the amount of fists pumping in the air). Jett and her backing band powered through their classics ‘Cherry Bomb’, ‘Do You Want to Touch Me’ and ‘I Hate Myself For Loving You’, ending a set that would be very hard to follow.

At this point in his career, there’s not much to be said about Paul Kelly, apart from the fact that you know you’ll be guaranteed a fantastic set. Relaxed and natural, Kelly and Co delivery an almost greatest hits style set that can’t be faulted. ‘From Little Things Bit Things Grow’ and ‘Song from the Sixteenth Floor’ were well received, but ‘To Her Door’ can only be described as magical. It was a little disappointing that there wasn’t a larger crowd to witness iconic performer, but those who stayed were able to witness an Aussie music legend at his best.

For someone who has never been particularly a big fan of Klaxons, this is a great re-introduction. Despite the muddy conditions, the English quartet got a lot of people dancing. ‘Golden Skans’ was pulled off surprisingly well, with that vocal melody sung spot on. The group finished with ‘It’s Not Over Yet’, marking the end of the festivities. Similar to Interpol’s set the night before, Klaxons’ performance flew by with no real stand outs, and no real complaints. It wasn’t a perfect end to the night, closing with either Joan Jett of Paul Kelly would have left everyone on a nice high, but it was good enough. 

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