The Chemist

There's something inherently sad about flying across the breadth of this vast land to play to a few dozen people, and such is the case when Perth natives The Chemist step onto The Troubadour's stage. A few give them casual attention, while a group of 10 continue talking loudly while playing drinking games.

I too had been a disinterested, dismissive punter in October last year, when they began playing a showcase at Perth's One Movement festival. That night, The Chemist totally blindsided me: fully-formed, mature, powerful songs were fired off to increasing applause and attention. That performance has stuck in my mind since, though the band have been quiet on the release front – until now. They’re in town this weekend to support Ernest Ellis and Old Man River, but also to perform tracks from their just-released debut EP The Wolves’ Howls Shatter The Old Glass Moon (the band only saw the final packaging today, apparently). They introduce themselves to Brisbane for the first time with 'Don't Look Down', one of its five tracks.

"Hello/Goodbye, hello/Look who's back again," begins singer Ben Witt, who plays lead guitar in Bob Evans' band (and man, does his mastery show tonight). "So sad, yet so true/Such a long way down," he continues in the chorus, which showcases his vocal range – from masculine yelp to sweet falsetto. Applause rattles down The Troubadour's hall, and most of those in attendance are now devoting their full attention.

Non-EP tracks 'Alison' and 'Heaven's Got A Dress Code' - "A song about making it to the gates of heaven and getting turned away because of your shoes," Witt wryly notes - bookend another song that, oddly, begins and ends with a six-string transposition of 'We Wish You A Merry Christmas'. Witt's bandmates are calm, if circumspect: James Ireland handles both keys and accordion, while bassist Hamish Rahn interjects back-up vocals. Drummer Elliot Smith (yes, that’s his real name) seems to favour muscle over subtlety, though he leaves the stage at one point while the band air their quietest song. Smith notices the mid-set background chatter that's crept up, so he overpowers them with a pounding kick drum during 'Stars'. Shame that Ireland's delightful keyboard solo is all but obscured by the bass-heavy mix.

EP opener 'End Of July' rounds out their half-hour show. It's one of their best songs, but its reprise is the real clincher. After the song climaxes, the rest of the band vacate the stage while Witt loops its four-bar chord progression. He then reprises the chorus and embellishes five layers of vocal harmonies, including one final, spine-chilling note wrested from deep within his lungs. Then Witt’s on his knees manipulating pedals, and these layers are eaten up by ugly, distorted digital effects. By now there are more than a few dozen in the room, so perhaps this east coast trip was worthwhile after all.

by Andrew McMillen