Northeast Party House ‘Dare’ Australian Album Tour // Words & Photos by Frank Forever
Northeast Party House took over a sold out 170 Russell Street last Friday night in celebration of their new sophomore album Dare. They did it in true Northeast style, as you would expect them too… By blowing the roof off the joint.
Kicking it backstage with the boys from Northeast – Zach, Sean, Jack, Mitch, Malcolm & Oliver – you could feel the relaxed, ‘straight up’ vibe that is such a strong foundation to their performance. Every band member was welcoming, encouraging and excited. They emanated a calm confidence about the show and national tour ahead, a true testament to the strength of the fraternity they have created over the years.
They spent their time bouncing jokes and ideas off one another, as their eager fans stomped around to a dynamic performance by Polish Club whose raucous track ‘Beeping‘ was a definite highlight of their support set.
Whilst some would have found this crowd nerve-wracking, the six-piece relaxed and enjoyed a few quiet moments to reflect before launching on stage and then right on cue, the crowd became absolutely rowdy.
Lead-singer Zach Hamilton-Reeves immediately caught the crowd’s attention, dressed in a pink Frank Forever jacket to match the pink tambourine he was emphatically smashing.
The boys launched into a rendition of ‘Any Given Weekend‘, followed by new bangers ‘For You‘ and ‘Your House’‘, then bookended by old classics ‘Youth Allowance‘ and ‘The Haunted‘. Having given everything to the crowd, it came time for Zach to chill out and take a back seat as the crowd exploded for Jack Shoe’s cover of Blink 182’s ‘Dammit‘.
The most electrifying element of the show was that no matter what the boys served to the hundreds of patrons, it felt as if thousands roared back, pushing the temperature and atmosphere to awesome heights. Mitch Ansell and Jack Shoe stood at each end of the stage, drawing the eye of those brave enough to enter the mosh pit at their feet, as both guys put in a significant amount of their energy into entertaining the bravest of fans.
Zach held the middle of the stage, filling it with his voice and stage presence. Behind these three, Malcolm Besley was anchoring the show on the drums, Sean Kenihan provided the keys and plenty of cowbell, while Oliver Packard kept the crowd enthused with the bass lines for which Northeast have become so well known.
This holistic use of the space and stage meant at least one of the boys was always drawing the eye of the crowd, whether it be through some particularly flamboyant dance moves, some ostentatious shredding on the guitar, or even just a wry smile.
Stylist Alexandra Peters kept the boys looking sharp on stage with consistent and well-cultivated looks. Decked out in Thrasher and Frank Forever tees, Dickies, tailored pants and Doc Martens, Peters perfectly captured the vibrant fashion culture that is radiating through the street scene in Melbourne at the moment. As I meandered through the crowd, this look could be seen far and wide – further reinforcing how perfectly Northeast encapsulates the brooding sub-culture from Melbourne’s inner North Eastern suburbs.
As their set ended, their loyal following gleefully begged for an encore. Choruses of “one more song” began, and the crowd were promptly rewarded with a ‘two-for-one’ as, with a signature sense of humour, Jack Shoe kicked off a cover of ‘Sweet Home Alabama‘ which he then cut short to hand the reigns back to Zach. Their final tune, the always adored ‘Pascal Cavalier‘ left the crowd cheering until they had nothing left to give.
Photo by Sarah Chavdaroska
Music venues around Melbourne house some of the best local and international acts. We’ve compiled our top five picks for gigs this week so you don’t miss out. Be a part of one of the best live music cities in the world, and check out some of our favourite artists and venues.
|Thursday, 8th September||Buy Tickets|
GODS are bringing their psychedelic rock to The Toff on Thursday, using the night to further fund their upcoming debut EP.
RAThammock are playing support as are the beautiful boys of Greeves, who will be preforming some of their new tunes.
|Thursday, 8th September||Buy Tickets|
Northeast Party House are playing at 170 Russell, on the tour for their new record ‘Dare‘ (out this Friday).
Joining them are Polish Club, Twinsy and Osaka, hot off the release of their new single ‘Weights‘.
|Friday, 9th September||Buy Tickets|
Animals Dancing and Crown Ruler are presenting Larry Heard aka MR Fingers in his first ever show in Australia, and second since his return to live shows.
Gigi Masin and Gaussian Curve are also playing on the night at the Melbourne Town Hall, so if you have the means and opportunity you would be crazy not to jump on tickets ASAP.
|Saturday, 10th September||SOLD OUT|
Dreamy party-time dance duo GL are touring their debut album, Touch, around the country at the moment.
They are playing at Howler with Totally Mild and Venus II for the Melbourne leg on Saturday night.
|Sunday, 11th September||Tickets on the door|
Ciggie Sunday is back at the Gasometer this Sunday with Ciggiespiracy.
Tunes will be coming from Tomsk, Service Desk, Max Matthews, Runsthevoodoodown and VJ Isaac Christie for the grand total of $0.
Head down early.
10 Jan Despite the teething problems, Beyond The Valley 2015 succeeded where it needed to – quality music.
Every year, Victorians are treated to a number of New Year’s Eve festival options, each with a stellar lineup of local and international talent. In its second year running, Beyond The Valley has managed to cement itself within the top tier of festivals on offer, both in scale and the quality of music.
As we arrived on day one of the three-day festival, the beauty of the festival ground – Lardner Park in Gippsland – was quickly apparent. Rolling hills dotted with trees and a large central lake would act as the landscape to host the next few days of music. Having been previously held at the Pyramid Rock site on Phillip Island in 2014, this new location offered its own opportunities and challenges for the festival. These opportunities included taking full advantage of the scenery to cater for more adventurous options like luxury tents, food trucks dotted around the campsites, markets, and novelties like bouncing castles. However, while these added a uniqueness to the festival, it was not without its teething problems, with some punters left frustrated at waiting up to five hours to get directed to a campsite with limited space.
As the sun set on the first night, crowds flocked to the Pavilion Stage to catch a variety of local acts. Through the early evening, DJs from Melbourne’s club scene played a selection of house and techno. A highlight came from Brisbane act Feki, who provided a set filled with moments of light and darkness as he played through a lot of his own delicate and adventurous productions, as well as more dancefloor-ready tracks. Dividem also provided a refreshing change of pace from the lineup of DJs with their energetic live show. Clearly comfortable with the full array of synths and drum pads across the stage, the duo powered through a set of live house to a packed tent.
The second day of the festival brought with it the first of the main stage acts. As the temperature climbed to the high 30s, punters were left with nowhere to hide on the scorched hillside facing the stage. Despite this, reasonable crowds showed out to view opening act E^ST, whose flowing vocals and ethereal production suitably matched the setting. This was followed by a more upbeat performance by Jakubi who did their best to get the crowd involved in songs like ‘Holiday’ and ‘Feels Like Yesterday’, despite the heat.
It wasn’t until Jamie XX that the stage faced its first proper capacity crowd. 15 minutes before his set there were surreal scenes as thousands of people poured through the stage entrance all at once, causing the bottle-neck gates to back up for a time. people were still crowding in as Jamie took the stage and began spinning records from his debut album, In Colour. Tracks like ‘Gosh’ and ‘All Under One Roof Raving’ were mixed in with other UK garage numbers in the all-vinyl set. ‘Loud Places’ provided a massive sing-along moment for the crowd before the set diverged into a more eclectic mix of soul, old RnB, and even moments of disco. This diverse and at times strange mix of songs did nothing to deter the huge crowd from dancing until the end of the hour long set.
As the sun began to drop, Client Liaison took to the stage. Their vibrant live show only seems to continue to improve with each performance, with no shortage of costumes and showmanship on display this time. Crowd favourites like ‘Free of Fear’ and ‘Queen’ hit their mark on a growing crowd, yet the unmistakable highlight of the set was a surprise guest performance by Daryl Braithwaite. Together, the extended rendition of ‘The Horses’ was one of the most memorable moments of the festival.
In the evening, Ta-Ku packed out the pavilion tent with his unmistakable brand of 808 bass and melodic trap. His set provided plenty of harder moments for the crowd to dance to, yet also some welcome reprises of more instrumental productions. Following Ta-Ku down on the main stage, Miami Horror proved to be a surprise highlight. Their experience as a live band showed as they fed off a now-large evening crowd. Cleopold joined them onstage for a special performance of new track ‘Love Like Mine’ but there is no doubt that nostalgic hits like ‘Sometimes’ still had the most impact.
A much more reserved Kite String Tangle followed with his two-man live show. His evolution into a confident solo artist was obvious as he engaged with the crowd and powered through a set that featured much more danceable new material alongside his delicate tracks like ‘Illuminate’. Crowd favorites such as ‘Stone Cold’ and ‘Given the Chance’ proved that they could still get a festival moving.
Harder acts like Boys Noize and RL Grime each brought an impressive live lighting and visual show that enhanced their respective techno and trap setlists. Closing the main stage for the first night was T.E.E.D with a diverse and, for the most part, well-thought-out DJ set. He opened up strongly with a mix of forward-thinking electronic tracks that largely reflected his own production, but later pandered to the crowd with more cheesy RnB selections. This combination of great tracks mixed well, but the blatant party tunes left the set feeling simultaneously engaging and drastically short-changed.
By New Year’s Eve, the mercury had reached a sweltering 40 degrees. Most were doing all they could to stay out of the sun, and the effect this had on the crowds at the stages was noticeable (even with the festival providing free bottles of water).
Despite this, a sizeable crowd gathered to catch grime rapper Skepta on the main stage. It was interesting to see how an act prevalent in a genre that is so rooted in UK culture would go down in a festival in Gippsland, but Skepta’s translation to Australian rap culture was obvious as crowds sang back the lyrics to many of his songs. Throughout his set he was consistantly engaging, with many commenting that he had the wildest mosh out of any act over the three days. Highlights included a freestyle of Stormzy’s viral beat ‘Shut Up’ and, of course, closing the set with ‘Shut Down’.
Northeast Party House were able to keep the momentum going on the main stage straight afterwards with a set full of hits from their last record. Their charismatic and energetic performance kept a dedicated mosh going strong through songs like ‘The Haunted’ and ‘Youth Allowance’, topped off with a spot of crowd surfing from frontman Zach Hamilton-Reeves.
Over in the Pavilion Tent, two days of dancing had gotten the better of the terrain and turned the roofed stage into a dust bowl. Many patrons were willing to bear this in order to get a good spot for Oscar Key Sung. However, unfortunately, technical issues prevented him from playing much of his set – possibly related to the huge amount of dust inside the tent. Once they were able to kick things off those who had stuck around were rewarded with a solid performance to start bringing in the evening.
Watching George Maple perform was an interesting experience, as she has featured on so many different local producers’ tracks as well as her own. This lead to a variety of sounds and styles being performed throughout, from harder tracks like ‘Gemini’ to the softer ‘Vacant Space’. With such great local exposure (on triple j etc.) over the last year, however, the crowd responded well with each change.
Following on from Maple in the tent was Seth Troxler, opening up with a long atmospheric track that caught many off guard. In due time, he returned to a more anticipated mix of techno and minimal, catering to a crowd that was now well on its way to midnight. In the leadup to the countdown on the Main Stage, Tkay Maizda had an impressive visual show to accompany her, as well as George Maple reappearing to perform ‘Ghost’.
Flight Facilities took to the stage just before midnight in trademark theatrical style. The producer duo appeared in a control tower of sorts, decked out with a slew of synths, controllers and percussion. They were soon joined onstage by other band members on guitars and additional singers such as Owl Eyes to complete the live ensemble. Their midnight performance was a clear highlight of the festival as they played through a catalogue of hits from their debut album, Down To Earth. Both the musicianship and visuals on display created a truly special experience for the packed-out main stage. With such a list of hits within Australia over recent years, picking highlights is difficult, though crowd favorites such as ‘Crave You’ and ‘Claire De Lune’ would make obvious choices. Backing up Flight Facilities, Dom Dolla was able to keep the crowd jumping well into the night with a selection of bass-house for those who were keen to stick around.
Despite the heat and dust, Beyond The Valley’s crowd turned out to see what was a largely a consistent display of quality music. For a lineup that catered to many tastes, there was always something to see and listen to over the three-day festival. Given it’s only been running for two years, it will be interesting to see how Beyond the Valley continues to grow in the lead-up to the now not-so-distant 2017.
The Spray and Wipe show at The Espy sure was a night to be remembered. Rocking up around 9:30pm the party was already well on its way. I walked to the front stage where The Corsairs had already begun playing their mild indie pop, but the crowd had way to much energy for that. Right from the beginning the audience where ripping up the d-floor, which would hold many a mosh pit as the night progressed. The Corsairs reacted really well to the energy of the crowd and it fed their performance. It was a great start to the night, really amping up the vibe in the room and made both mosh pitters and bystanders feel some adrenaline.
Bumping into some friends on my way to the next stage led to chatting which meant that by the time I found my way to the Gershwin room to see I’lls I had missed most of the set and only heard a couple of songs. These guys where definitely the calmest of the bands that would play the night and I believe the only ones not to have a mosh pit. What I saw was pretty amazing, not having a dedicated drummer we are left with a synth, drum machine, effects pedal and bass driven band.
I was absolutely blown away by the last song of the set with its beautiful looped vocals with harmonies. It created a full sound that was emotive and dynamic. Building on this they juxtaposed complex sounds with more simple ones, cutting between them. Once the song was reaching its climax the vocals began to be manipulated and edited, cutting in and out and the crowd gave the band their full attention the whole way through, cheers and whistles came from darkness. Front man Simon Lam then left the front of the stage and climbed onto the drum kit to further accent the drum machine beats. I absolutely loved what I saw of these guys and will endeavor to watch a full set of there’s at the next possible opportunity.
Climbing up the stairs to the mezzanine stage where Drunk Mums where playing in almost darkness. Weaving my way to the front line of the mosh pit I was pulled behind the mixing desk by a fellow photographer who exclaimed that ‘IT’S MENTAL OUT THERE!’ and he was right. I was safe but anyone who stood anywhere else suffered a different fate. The band dealt with feedback issues by leaning over to the mixing board and adjusting their own sound but it wasn’t really a problem. They were having fun and, judging by all the smiles, the crowd was too.
The single ‘Rubbing Your Gums’ shook things up with more people climbing on top of other crowd members more in that track than the others, but that’s not to say that was the only time they attempted crowd surfing. The boys where playing on a makeshift space, with no elevated stage, this made it feel as if you were just at some insanely awesome party.
The craziness definitely did not end there, with Dune Rats hitting up the front bar stage and once again I braced myself directly in front of the stage, all in the name of photography I sacrificed myself, well, at least my stockings which managed to get some lovely holes in them! The audience tonight didn’t understand what calm meant. Moshing, stage invasions, stage dives and crowd surfing was just the name of the game. Dune Rats tracks ‘Fuck It’ and ‘Wooo!‘ where crowd favorites. The boys played their gritty surf garage rock extremely well and had the same energy that I experience when I saw them play to a few dozen people in my mates lounge room.
And finally it was time for the fabulous and infamous Northeast Party House to give the crowd one last chance to lose their shit! Opening with their calmest track ‘Horror Hud’ the crowd was eased into the frenzy of what would come. Playing all the favorites it doesn’t seem as if NEPH can put a foot wrong. ‘Pascal Cavalier’ was received extremely well and their latest single ‘Stand Tall’ has guitarist Mitch Ansell on vocals also which worked really well. The boys certainly ended the night with a bang! Leaving everyone happy and exahusted, energised and sweaty.
It was time for me to leave the Espy as the night switched into the morning hours. At this point Alison Wonderland was doing her thang on the decks and I strutted out to ‘My Neck, My Back’, awesome.
REVIEW & PICS BY CHANTELLE MATUTINI
The boys from Northeast Party House are at it again with their new single ‘Stand Tall‘. This track takes a slightly different turn from their last single ‘Pascal Cavalier‘; it isn’t as anthemic and bouncy, instead it seems to hold a more serious tone rather than just being a party track. Still holding onto the sounds that are iconically NEPH you won’t miss the glorious synth chiming and bubbling away from beginning to end. The guitar seems to have been taken a step further with this track also, it is more prominant and roaring than what we have seen previously.
Released with its own video clip, we get to see the band cruising around in a bus while the video cuts to a young expecting mother. It feels as if this video has to be analysed and discussed to uncover a deeper meaning, which again is a new turn in the history of NEPH video clips.
These guys keep developing their sound as their following continues to grow and ‘Stand Tall’ is definitely looking forward.
You can see them at the Espy on Friday the 21st of September for the Spray & Wipe gig.
REVIEW BY CHANTELLE MATUTINI.
Nothing says ‘shit is about to get wild’ like a set starting with “Coco Jumbo.” Northeast Party House brought the Corner Hotel down last night with their “Pascal Cavalier” tour. Dressed in an amalgamation of onesies, tights and ‘a woman needs a man like a fish needs a bike’ t-shirts, they were destined for greatness from the get-go.
Having seen the talented young hipsters in the past, I knew well and good that I wasn’t fated to stand quietly in a sea of mild-mannered toe-tappers. Standing front row centre, I was right the line of fire – and definitely took a few for the team. From the first few songs I was being shoved aggressively by a particularly violent lesbian. Mid-way through the set I copped a shoe to the face from a limb-flailing crowd-surfer. By the end of the show, my face had melted off, I was literally dripping with sweat, and I was bruised (and still am) from being rammed into the front of the stage in a particularly sensitive place which has probably limited my ability to reproduce. All in all, still totally worth it.
“Empires” got the crowd pumped up early. A few vocal loops, an effortlessly cool guitar riff and some wacky synth samples were enough to rev the diehard fans up for what was to come. “Embezzler,” as always, turned things a little gnarly. Punters took it upon themselves to use the stage as a platform for crowd-surfing – and the talent couldn’t have been more gracious hosts. Amidst the sexily-whispered vocals, dirty bass line and super-spicy guitar riff, people were getting blind off the energy (and possibly the hard drugs) in the air.
While their sneakily inserted Gorillaz cover had the mob all but throwing bras on stage, it truly was their own magic which separated them from their supporting acts. “Pascal Cavalier” was a clear favourite and a worthy catalyst for a tour. “Pascal Cavalier!” the people shouted through the chaos, some being somewhat trampled under the stampede. If anyone ever doubted whether these guys had their shit together, this track would have well and truly stapled their mouths shut.
To put it poorly in an analogy, if Northeast Party House were a movie, you would need to see them in the cinema. Enjoying their music at home by yourself is one thing, but the energy they create live is next to orgasmic. The boys are off to Sydney and Brisbane next on their tour, let’s hold our breaths in unity until their return.
REVIEW BY ALISON ERLANGER
The rate at which this band has grown is nothing short of extraordinary. Northeast Party House was, at first, a band that got together to create some havoc and have a dance. Now they are structured. The line-up of the band has changed and whilst they still create havoc on stage, they do it with an air of professionalism. Each member being a talented musician in their own right. Their songs are addictive, their personalities are likeable and their shows are infectious. From their humble beginnings they have developed instantaneously, with features on triple j, appearances at countless festivals such as Falls Festival and Pyramid Rock, packing out the Corner Hotel and making some killer video-clips. Their indie dance tunes will have you bustin’ a move in no time, and from there it is hard not to become a fan.
The Ripe‘s very own Chantelle Matutini got in touch with Jack Shoe, guitarist from Northeast Party House, in the lead up to their sold out “Pascal Cavalier” single launch at one of our favs; the Corner Hotel.
Chantelle Matutini: At risk at sounding a bit cliche, how would you describe your sound?
Jack Shoe: Our sound relies heavily on solid bass lines. They make the foundation for most of our tracks along with four to the floor drum beats. I guess that’s where our dance music influence really becomes quite obvious. But we also like to use standard pop structures and we have two guitarists in the band so we run no risk of sounding like a solo studio producer’s side project, we are very much a live band. Our distinguishing feature however is Zach’s voice. He has a very interesting and unique tone.
C.M: We’ve been dancing to your new track Pascal Cavalier for weeks now, how did you go about writing that one? And do we hear a new voice?
J.S: Aw thanks. That song has been in the works since 2009. None of us were really that fond of it in its early demo form but it has always been a crowd favorite at live shows. Earlier this year our label suggested giving it another crack (recording the track), so we went into the studio and transformed it into something we’re really happy with.
Oh and yes. That is our guitarist Mitch singing in the chorus. It’s the first track he’s sung on and it adds a lot more dynamic. For me, the dual vocals in the chorus are the stand out feature on this track.
C.M: Is Pascal Cavalier a taster of something more?
J.S: Tom-Aye-Tow, Tom-Ah-Tow. Does that make sense? We didn’t record it with anything else in mind but it’s quite possible it will end up on our next release. What that next release is I can’t say. That all depends on how our next batch of writing sessions go. Although I did read somewhere that our debut album is coming out early next year. Sounds good to me.
C.M: Your shows are renown for getting a bit crazy, how do you ensure that your next show is as unforgettable as your last?
J.S: We are always brainstorming ways to make the next show better than the last. We don’t play shows in the same city very often so I guess that keeps the excitement level up in the audience. Then our job is to deliver new tracks, new tracks, new concepts for stage craft element we can incorporate on a non-existent budget. We’ve got some special things planned for this Friday at the Corner actually. Can’t wait.
C.M: After your last show seeing the audience butchering stuffed animals, do venues get pissed with the trail of destruction you often leave behind?
J.S: Yeah some venues get very shitty. They make us stay there ‘till 4am cleaning the place or they wont pay us. Some venues are friendlier though. If the show has pulled a good crowd the venue manager is usually more sympathetic to the mess we’ve made.
C.M: Are there any bands/musicians you just can’t get enough of lately? Any recommendations?
J.S: Love Migrate. I know that’s not really breaking news for you seeing as you included them in your Top 50 tracks of 2012 so far, but sheit they’re fantastic. I saw them at Boogie Festival and they were really impressive. I find it kind of shocking that they haven’t blown up already.
C.M: If we were to find you playing in your dream line up, who would we see playing along side you?
Vocals – Charles Bradley
MC – Fred Durst (Limp Bizkit)
Guitar – Cat Power
Bass – Campbell Smith (Millions)
Drums – Myself
C.M: You’re trying to defend your keep, which band would fight beside you and what is your weapon of choice?
Weapon: Glitter & a smoke machine.
Being stuck in a library and coming across this tune is not ideal, I JUST WANT TO DANCE DAMNIT!! Melbourne act Northeast Party House have delivered their highly anticipated new single ‘Pascal Cavalier‘ and its pretty sweet. It holds all the Northeast Party House characteristics that we love such as a bubbly guitar line, warm synths and that lovely upbeat drum line. Front man Zach Hamilton-Reeves provides smooth and soulful performance as always. However we are also given a nice little surprise when the sounds of fresh vocals from guitarist Mitch Ansell are introduced. The combination of their voices are contrasting but blend together well and I really enjoy the new dimension that they create.
I’m warning you all now, this is a highly addictive song! I have lost count how many times I have played it.
What would a new single be without a gig to launch it, and there will be a gig. I promise to any Northeast Party House virgins out there that you will not be disappointed by their live show, they are one of the most energetic and crazy bands I have seen in a long time. They are touring the east coast throughout July and you can catch them on the 13th at The Corner Hotel.
REVIEW BY CHANTELLE MATUTINI
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Scott catches up with the guys from Melbourne psychedelic dance rock band Northeast Party House.
The guys talk about starting the band in early 2010 where they quickly progressed from playing house parties and warehouses – to local venues, a national tour and playing Falls Festival.
With a reputation for throwing wild, high energy live gigs, it’s no wonder these guys have started gaining such a huge following around the country. We’ve got some snaps from their gig with Millions and Nantes which you can catch here
Watch the clip for Empires here:
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“Northeast Party House with Millions and Nantes at the East Brunswick Club, Melbourne. Full Review:
From Northeast Party House, Millions and Nantes at East Brunswi, posted by on 2/25/2012 (58 items)
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