Live Review: Friendships, Null, Habits, Shouse

Thursday shows can have their perils. Shouse (replacing Spike Fuck) are the unfortunate victims, with more people out the front buying burgers than groovin'. The 7.50pm start time is a bit of a culture shock to fans/genre regulars. The questionable memories and state-of-mind of late-night electro shows are embodied in their dense sound and as they wrap up their set, the small taste is a welcome beginning for the night to come. 

Habits are solid performers live. It's been proven with consistently high quality performances throughout 2016. Like adrenaline junkies, we spectators need new memories to keep that high alive - that's why everyone in the room is systematically as close to the band as possible, ears pricked. But, while we get that taste, it's not as good as before. Technical faults, scratchy sound and a starving need for what the band have for us next make tonight halfway there and a bit same-same. 

Launching the EP Archived Works Vol 1, Null split their time between so purely hitting the mark and missing it completely that it's not funny. A project that favours more sound experimentation, some parts of this set just feel like pre-cued Ableton samples and compositionally/conceptually the set is all over the shop, which is a real double-edged sword. The kinda lame closing pre-record 'merch promoting' sample further complicates this far too elaborate, misguided concept. Stick to the dark experimental sounds, don't look happy doing it and play 'em loud - for that's the strength here.  

There was initially a strange hype behind AV duo friendships, which saw them gain quick/early attention from a variety of sources. Then came their debut LP, which is without a doubt one of the most dark and challenging records the local community has produced and for tonight's launch; it already has a status. 

Playing Nullarbor 1988-1989 in order, the band let all show. The expansive and intricate compositions that make up that record are difficult to reproduce. The duo delivers most of the time, but it's hard not to praise them even when they don't. 

The intimacy of tracks like Jerramungup 1988 and Footscray 1989 not only polarise (as they should) but are also trivialised by intoxicated call-outs. When they are loud, people shut up. But the overly compressed and unbalanced sound clearly puts the two off while the sitcom-like "Applause" lighting also notably ruins the immersion, which is the backbone to this record. 

Ultimately, the people who already have 'got it' try their hardest to be immersed. For the half of the room who haven't 'got it' yet or even heard the album: give it a shot and next friendships show, we can all show a bit more respect and have a better time.