Current sweethearts of the indietronica circuit, Purity Ring sold out their Golden Plains sideshow at The Corner Hotel on Friday.
After a substantial amount of airplay on triple j following their 2012 LP Shrines, the Canadian duo have already endeared themselves to Australian lovers of dreamy ambient electropop.
Catching the attention of the first arrivals were Fishing, two synth whiz kids from Sydney who made their mark on the Australian electronic music scene a couple of years ago at Peats Ridge Festival.
They’ve also upped their profile with popular remixes of the ‘90s classic “Waterfalls” by TLC and “Heartlove” by Melbourne’s very own Alpine. Their enthusiasm was infectious and the duo did a good job of introducing the night to the revellers.
Half an hour later, Purity Ring’s touring companion from the US, Headaches, pumped out his dancey dreamscapes.
In the manner of a dream, not making a lot of sense but resonating with the crowd anyway, this James Holden-esque DJ smoothed out the night’s sonic creases so the main act could paint their masterpieces onto primed aural canvasses.
The anticipation of a magical show was palpable by the time Purity Ring walked onstage.
Vocalist Megan James resembled a Victorian-era doll in her own hand-made black dress with lace collar, strange cocoons hanging from the ceiling all around her.
Instrumentalist Corin Roddick took up a pair of drumsticks, perplexing the audience as no drum kit could be seen onstage. He stood behind what appeared to be an asymmetrical candelabrum, holding half a dozen large lanterns made of paper and wireframes.
As Roddick’s playing triggered the first illumination of these lanterns, an enchantment was cast over the crowd and left them as enthralled as children before a magician.
The synchronised sounds to these luminescent synth-bulbs were the tinkling fairy dust sounds so unique and characteristic of Purity Ring.
James breathed into her first lyrics, which sounded as though written by H.P. Lovecraft on a particularly whimsical and bloodthirsty introspection.
The Gothic atmosphere was further enhanced by a light globe that resembled a single, still candle, cupped in James’s hand as she swayed and arced.
By “Belispeak”, the crowd was dense enough for a crowd surfer, which in the macabre ambience almost resembled a twitching cadaver, propelled by shadowed figures that threw up their limbs in time to the music.
Cries (suitably) went up for “Lofticries”, as the crystal balls turned slowly and cast glittering refractions upon the crowd. The cocoons swung above the stage and lit up in blue, green, and pink, as James took up her beater and struck the bass drum standing to her left.
Emphasising the thunderous bass in “Cartographist”, the drum lit up to resemble a full yellow moon rising over the night horizon.
As her wild curls were blown back from her face and she pounded on the drum, James appeared ever more a sorceress, casting a spell over the audience with her innocent voice singing spookish poetry.
Their most recent release, the Soulja Boy cover “Grammy”, brought a surge of energy from the crowd who were coming out of an “Obedear” trance.
The duo’s foray into commercial pop went down well, giving James a chance to show off the full power of the lungs in her petite frame.
Euphoria was emanating from everyone when the duo finally launched into Triple J Hottest 100 favourite “Fineshrine”.
Couples turned to one another to kiss, and friends swayed with arms around each other. The audience sang in chorus with James as starry eyes gazed at her and her dancing light, at Roddick and his ethereal synth instrument, or closed in rapture.
Purity Ring had everyone absolutely awestruck and enraptured that night, and no doubt their fans are hoping that James’ promise of returning to Australia next year will be fulfilled, accompanied by a new album to add to their repertoire.
