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REVIEW & GALLERY: Superchunk (US), with Placement & Sawcy Paw

It was one of the first times that this writer has experienced all concert-goers in the same room relive their own memories through song.

Pictures by Danny Wallace.

Every moment of my life has a soundtrack, so I never know when some song is going to jump me by surprise and bring the memory alive.” – Rob Sheffield

It is a rather relatable sentiment, isn’t it? Understandably, the contributing editor of Rolling Stone and famed author Robert James Sheffield would have an immeasurable collection of songs that would prompt a “time travel” effect for himself via an almost inexplicable magic. Assuredly though, there would be millions of music aficionados worldwide who would experience this exhilarating entrancement practically every day.

But imagine undergoing this miraculous phenomenon alongside perhaps 100 other devotees to an influential group, in a live setting, with an indescribably beautiful and emotional melody that sparks memories that may have escaped one’s recollection for possibly three decades, or more.

That sensational surprise is what North Carolina’s indie punk luminaries Superchunk brought to their Adelaide fanbase on this splendid summer evening, and memories were not just brought to life, new ones were given life magnificently. 

Local trio Sawcy Paws had the honour of opening this historic showcase, however it was jarringly to only a handful of attendees. The three-piece were not discouraged by this detail at all, and wilfully cracked the jar on the lucky handful of witnesses with their charming garage-pop-rock compositions. 

Kicking off with ‘Cut Your Hair’, the trio instantaneously unveiled their quirky character with this jangly indie punk number that would fit perfectly on the Scott Pilgrim soundtrack. ‘Solstices’, ‘Mono’, ‘The Swan’ and ‘Cheap Cigarettes’ were all excellently endearing, citing influences such as The Buzzcocks, Mach Pelican and even exploring some surf rock and shoegaze pop flirtations. The band were clearly thrilled at the opportunity of supporting such a pivotal act as the headliner, so much so that their own energy reflected this, and they were fixed on making their own memories with their rollicking tunes. 

‘Radio’ elevated the dynamism incorporating intriguing Britpop overtones, then closer ‘Forest’ escalated all these components unifying the musical mixture into a proper garage punk outburst. The artistic chemistry between guitarist / vocalist Dan Adey, bassist Nick Hankey and Chloe McGregor is certainly vivid and hopefully the three-piece can exhibit this more with new recordings soon. 

Adelaide’s Placement were undeniably the “surprise” element mentioned in the above quote as their astounding art rock bewildered all in attendance in brilliant fashion. ‘More A Cause’ seized the growing audience’s attention with its marvellous math rock puzzlement and Stu Patterson’s saxophone addition glorified the entire presentation.

‘Lost Sun’ blended the radiance of This Town Needs Guns with Australian indie garage rock and post punk experimentations that when combined, was above hypnotic. Especially with the vocal layering frontwoman Malia Werle integrated in her delivery that wonderfully weaved between spoken-word poetry to angelic harmonies. The discordant breakdown interlude halfway through the single was simply breathtaking. 

‘It’s Over’ called upon the criminally underrated Wax Idols but with a dazzling dreamy effect which was carried over sublimely to ‘Collapse’; Stu Patterson’s clarinet wailing was marvellously mystifying in its perplexity. 

‘Insect’ was a vexing and hazy wall of sound that captivated all within the Lion Arts Factory, which was then followed by the diverse grunge-pop-art punk adventure of ‘Deserter’ that was tremendously transcendent. A new song was presented that would have impressed Dirty Three and ‘Inertia/Heavy Lids’ closed out the demonstration with a luscious luminosity. The quintet embraces an artistic bond that is remarkably immeasurable and Placement should be on any indie music enthusiast’s “must see” list. 

Here’s Where The Strings Come In suddenly became more than the title of the indie punk rock frontrunners’ fifth studio album, it became the long-awaited welcoming for North Carolina’s Superchunk. As famed composer Javier Navarrete once hypothesised: “Strings are so evocative – they immediately create a visceral, emotional response.” The intimate crowd became collectively breathless in ecstasy when the quartet launched into ‘Stretched Out’, everyone in the building seemed to sway in unison and adoringly sing along to the rapturous track in visceral harmony.

It was one of the first times that this writer has experienced all concert-goers in the same room relive their own memories through song, physically they were adoringly watching and hearing one of their favourite emotional indie rock acts together. Mentally, they were elsewhere, in their personal histories and relishing this prodigious soundtrack. 

‘Without Blinking’ was an astonishing blend of youthful Title Fight and earlier Brand New (it must be highlighted that neither of these acts were near existence when this song was released in 1994); then ‘Driveway To Driveway’ was that perfect indie emo punk tune that The Promise Ring may well have utilised as a blueprint for their entire sound and career. 

The clock was wound further back with ‘For Tension’ and added a fantastic hyperactivity to the entire presentation that magnetised the awestruck admirers. It was then wonderfully wound forward for the alt-country-punk extravagance ‘On the Floor’; the arrangement of a classic song leading into a modern composition exemplified just how timeless and uniquely marvellous Superchunk truly are. 

‘Skip Steps 1 & 3’ was sensationally vivacious, with the entire band hitting full-flight in their performance and singer/guitarist Mac McCaughan embracing his forever youthful exuberance with numerous punk jumps. ‘Kicked In’ maintained this aura stupendously but with an injection of grunge and alternative drone, and ‘Water Wings’ incredibly heightened the exhibition further, especially in terms of its striking agelessness.  
 
‘Everybody Dies’ integrated a heaviness both lyrically and in tone; to be honest though, the show was requiring a bass-driven shake-up with guitar solo and how lucratively this track fit the occassion. ‘Mower’ was possibly the reason Sunny Day Real Estate became a band in the first place and Mr McCaughan decided that during this spirited single, the stage was now his athletic training zone. The front-man became airborne frequently and sprinted around the entire area (please note, he is 57 years young) without missing a beat. 

‘What A Time To Be Alive’ was an enlivening melding of The Get Up Kids and Mute Math with one of the most befitting titles to the current state of the world. Mac did bring up that this was Superchunk’s “second time around” and that they had a new Preside(me)nt(ed) sorrowfully. ‘Slack Motherfucker’ accentuated that last sentiment faultlessly with a “punk off” attitude – the shouted: “I’m not working for you” lyric never hit so right. 

An encore was very gratefully delivered after a quick band selfie to “prove we have fans in Australia”. ‘Like A Fool’ was intoxicating and set the heartbeat ratio for everyone there to witness it. ‘Crossed Wires’ was its own ignition of sparkling punk rebellion and then the cover of Dead Moon’s ‘Fire In The Western World’ was more than poetic, it was thrilling.

‘Hyper Enough’ was the epitome of Superchunk, it is THE jingle that brings memories to life and creates new ones all at the same time. It was assumed to be the epic conclusion. However, ‘Fishing’ was to be that closure, although replace “epic conclusion” with “explosive electrocution” as it was a lightening storm of punk rock rhapsody that will not soon be forgotten. 
 
What a perfect soundtrack to this ‘Binding’ memory.

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