Rain Party

Tonight kicked off in a suitably loud and gloriously rowdy fashion with four-piece Rain Party opening proceedings.

A deliciously effective and different take on indie rock, courtesy of bassist/lead singer Neige Koppes, providing a great example of a really good gel between support band and headline act.

“Stay” and “Watch Me Run” were two standouts of a set that entertained the arriving crowd.

Formed in England in 1963, The Pretty Things are one of the most influential bands you’ve probably never heard of.

Taking the music of rhythm and blues, which was popular during the time, The Pretty Things really ramped it up to quite unheard of levels.

Setting the template musically for what we now know as ‘garage rock’. With vocalist Phill May and guitarist Dick Taylor present this evening, on their first visit to Australia, this was unapologetically loud, abrasive rock and roll the way nature intended it to be.

A massive influence on bands across the pond, such as The Stooges, The MC5 and The Sonics, the influence of The Pretty Things cannot be underestimated. Australian bands such as Radio Birdman and The Hard -Ons are but two that have taken them to heart as well.

The big questions tonight was whether or not they still cut it and are worth their legacy, nearly fifty years after they begun. The answer was ‘yes’, and then some!

Kicking off with the stomping “Roadrunner” (no, not the Jonathan Richman song), the band, performing tonight as a six piece, proved that age has not wearied them one little bit.

Guitarist Dick Taylor is also somewhat famous for being part of the original lineup of The Rolling Stones, but left before they became, in his words, “too commercial”.

The fact that The Pretty Things, and their all-out sonic assault, would have been too confronting for audiences 50 years ago might have some bearing on why they didn’t become as big as The Beatles or The Stones.

Tonight was foot to the floor, foundation shaking rock at its most hugely enjoyable and soul satisfying.

It was wonderful to hear tracks from the band’s best known album, 1968’s S.F. Sorrow, recognised by many as rock’s first concept album. The songs presented in this fiery and compelling set really brought home the influence that the band have had on the shape and texture of music as we know it.

The absolute highlight was an electrifying version of “Don’t Bring Me Down”, where they were joined onstage by an old friend, Melbourne bassist/harmonica player/man mountain John Stax.

This was a moment that truly defined rock and roll at its most thrilling and dangerous. A searing, blistering set from a band that can run rings around the young whippersnappers out there proclaiming to be true ‘rock’ bands.

An early Xmas present and an absolute treat to all in attendance. - Tonedeaf

A thumping debut EP from Melbourne-based rock outfit
Pick up a copy of this EP and you’d be forgiven for thinking you’d come across a long lost album from The White Stripes – the symmetrical imaging and the white, red and black colour palette surely act as aesthetic tip-offs.

But you’d be mistaken. Instead it’s the debut self-titled release from four-piece Rain Party, a Melbourne-based band featuring two sisters, Neige and O Koppes, alongside guitarist Aaron Ronaldson and Andrew Congues behind the drum kit.

Rain Party is thumping out some grand old rock sprinkled with hints of psychedelia, and doing it well.

Introductory track “Stay” kicks off the EP with a strong bassline set against Koppes’ arresting voice, which delivers brooding lyrics to set the mood for the rest of the EP.

Second track “Caught in a Daze” is easily the stand-out song of the EP, with pulsating drums punching through the blurred bass line.

It’s energetic, and it has a distinct vibe reminiscent of The Kills – unsurprising, as Alison Mosshart and Jamie Hince’s project has been named as one of Rain Party’s influences.

“Whisper” slows down the pace, and adds to the mix a yearning guitar lick, giving the tune a solid, forlorn blues vibe with concentrated dual vocals. Rain Party’s EP finishes up with “I’m Calling”, an irate track awash with driving rhythms, and “Die”, an equally powerful song with a dark, sinister hook.

Play it loud, and preferably when you’ve got some steam to let off. - Tonedeaf