Thursday 3rd February 2011
Holy Fuck was a matrimony of live and electronic parts in a frenzied union that was unrelenting and undeniably exciting. At the Hifi, or haven of the vertically-challenged, the semi-circle ampitheatre was replete with bodies, ready to hear our first communion.
First support off the rank was Total Control, which I must confess, I missed. Sorely disappointed, as I have heard nothing but good things about this band – and especially their live set, I had to contend with family favourites Beaches who followed straight after.
Beaches’ signature tousle-headed boredom is nothing new to a regular Melbourne bandaid. It seems, no matter what genre or style of international act is visiting, Beaches are on the support bill as if determined by the pointy finger of pre-ordained fate. Garaged out of their minds, they stood there with downcast gazes and dutifully doled out the same songs they played last time I saw them, which was probably last week. It begs the question – are they washed up? I’m not sure, perhaps they’ve got more in them – and certainly they are accomplished at what they do. But perhaps the repeat cycles have faded their performance to a dull grey.
DJ Ash Breadcrumb (Witch Hats) played Wooden Shjips and The Black Angels in an interesting and engaging set between supports.
My friends suggested a cigarette break so we trotted up the stairs and stood outside the Hifi, only to be asked moments later, by a young and sweaty looking guy; “do you guys know where we can get some pills?” It’s been a long time since I’ve been asked that question and I wondered, was this a sign of things to come, or was it just status quo standing out the front of the Hifi on a Thursday night? We ventured down the stairs once more, blissfully ignorant of the aural delights awaiting us.
Holy Fuck started their set with MD, the first track from their new album Latin – a slow lull that builds into their signature layered explosion of sound. On stage we see a drum kit, ably manned by Matt Schulz, his mouth replete with gob-stopping movements that seem to assist his ability to drum like a banshee.
To his right is the bassist Matt McQuaid, whose dedicated head is in constant motion above his instrument. When he really gets going, a silent scream of enjoyment resounds. On either side of the stage Brian Borcherdt and Graham Walsh face each other and their desks of keyboards, wires and effects.
The crowd responds well to tracks like ‘SHT MTN’ and the frenetic energy of ‘Stilettos’ from their latest album. The tiers of the Hifi are full of bopping heads and twisting shoulders.
Borcherdt plays the film synchroniser with aplomb, quivering the lever of what is a beautiful vintage tool rendered sonic. It sounds like a wobble board, and in tracks like ‘Red Lights’ makes an infinitely cooler impact than Rolf Harris could ever aspire to. Borcherdt has erratic, almost epileptic movements and a love/hate relationship with the microphone – alternating between up close and tossing it away in disdain, tossing his head away like a petulant lover.
Across from him, Graham Walsh bends with angular poise, and the attention to detail of a concert pianist, but rather than sleek keys, instead a mess of wires and buttons confront him.
Holy Fuck are undeniably astute performers, and you could tell they loved the sounds they were making as much as we did.
Electronic musicians have a certain freedom afforded them. The capacity to shred the melody they have just created – to loop, delay and override the very sound they have just let loose seems like a liberating experience. To see every crunchy intersection, every shift and layered swathe of flutey dissonance was a privileged insight into the variegated components and ultimate cohesion of their sound. Holy Fuck are masters of the build, druids of the never-fail climax and its skilful execution.
At one point, my friend turns to me and says “I never thought I’d get into slap bass” but get into it we do, and we are not alone in appreciating Holy Fuck’s inspiring capacity to build their songs into a relentless journey of harmony, skill and presence.
– Anaya Latter
