Darren Sylvester

On stage at the early hour of 8pm, all-girl Melbourne trio The Icypoles stuck to a barebones model, topping their songs with modest helpings of vocal harmonies, reverb and the occasional tambourine. Guitarist Tara Shackell and bassist Isobel Knowles formerly played together in Architecture In Helsinki, while the drummer was a new recruit. The one-time AIH side project has been around for five years, but this was the band’s first gig since early last year. The Icypoles’ affable, wide-eyed set included a cover of ‘Earthquake Body’ by Still Flyin’, the party-centric San Francisco troupe in which Shackell and Knowles also play.

The night’s other support, Kes, contributed a set of roaming, patient psych with the help of bassist Lehmann Smith and drummer Julian Patterson from his terrific Kes Band. Nodding to Kes Band’s all-instrumental second album, the first few songs were free of vocals before, suddenly, Kes’ arresting voice emerged. He and Smith later switched instruments for a song on which Smith sang lead, revealing a voice not so far removed from his captivating frontman. They then reverted to their original instruments, with Kes continuing to summon squeaky verses and fascinating guitar passages.

Taking the stage alone was headliner Darren Sylvester, a successful artist turned musical multi-hyphenate. Sylvester wrote, played all the instruments on and produced his debut self-titled album simply to accompany an art exhibition last year, only to see it picked up for national release by Unstable Ape/Remote Control. As on the album, Sylvester tackled the songs by himself, without a collaborator in sight, although he was by no means beholden to the album versions. Songs were shortened, lengthened and otherwise reshaped, lending a cool freshness to a set that included each of the album’s 10 tracks.

Sylvester commenced with album opener ‘Newville Avenue’, a dreamy ode to Karen Carpenter that featured just vocals and guitar. From there he turned to sampler, drum machine and synths, visiting a lovely-looking set of electronic drum pads here and there. By the time he was locating the airy guitar solos of ‘Twenty Three’, you didn’t really notice the lack of other people on stage. Rather, the streamlined confluence of liquid guitar lines and glossy synths was gripping enough on its own.

Following ‘Telephone On The TV’ and ‘Cellphone Warehouse’, Sylvester did a loose, sparkling reading of ‘Phil Spector’, his self-reflexive nod to the infamous “Wall Of Sound” architect. The backing track erupted with full force mid-song, inspiring cheers from the crowd, and Sylvester returned to the drum pad before embarking on an extended version of the song. Afterwards, he noted the size of the crowd, admitting, “Normally I play to like six people.” He closed with the lean yet swaggering single ‘That’s A Nice Haircut’, the album’s catchiest entry.

Having played the entire album but wanting to answer calls for one more song, he covered the early Cure single ‘A Forest’. Given his light touch and unruffled, lackadaisical vocals, however, it felt like just another stellar Darren Sylvester tune.

by Doug Wallen