Nonchalant yet blissful, Naarm's very own Armlock appeared in Newcastle for the first time last night at King Street Hotel.
Novacastrians alike broke the usual mundanity of a Sunday evening in the Steel City to make their way to the show (31 August), intrigued by an urgent new sound emerging out of the Australian scene.
Doused in nostalgia, an immensely bitter-sweet feeling permeates through their sound. It's a blend of emo and intimate lo-fi pop that pays homage to the linear arrangements and softly-sung vocals of Alex G, with electronic leanings grounded in the likes of Vegyn or even 'Amber' era Autechre.
'Turf War' and 'Ice Cold' begin the set as they guide their audience into a dream-state, intertwining interludes that bleed into high pitched harmonic soundscapes reminiscent of Tim Hecker or Boards of Canada. A poised start for the four piece.
While the production on their debut record, 2024's 'Seashell Angel Luck Charm', is incredibly serene and restrained, their live set revealed some more visceral moments and deliberate dynamic shifts.
Their playful, cyclical pop melodies give way to a hallucinatory experience supported by clean guitar parts that carry a raw and sublime beauty. With the addition of new drummer Miles Murray, there's a stronger emphasis on dynamic diversity that ultimately separates their live show from the record.
As 'Guardian' begins, we are immediately travelling, witnessing a dream unfold in real time as we're taken by the hand and guided. Lead singer and guitarist Simon Lam gently yearns for something or someone up above. Esoteric and intimate, he looks up as the audience looks on.
It was a chance for lead guitarist Hamish Mitchell to grace a gained-up Les Paul with riffs that echoed the influence of acts like Eternal Dust or Bitumen.
'Strobe' and some unreleased tracks became a moment for the band to emphasise these dynamic contrasts, revving up the set with crescendos of restraint and release that always return to a distinctive minimalist sound.
The band revealed a couple of new tracks that took on a subtle nod to post-humanism. Their interweaving of electronic elements with some of their newer tracks seemed to be more apparent yet maintaining their spacious and dream-like sound.
The motif of a deteriorating vocal loop announcing the phrase 'Armlock' slowly decayed as they moved into the last third of their set. 'El Oh Vee Ee' and 'Fear' bring us back to driving along, yet its feeling is hopeful instead of melancholic, liberating and exciting, like a sigh of acceptance.
In each chorus, Simon's vocals are harmonised by bass player Georgia Smith, adding an amazing ethereal element whilst her warm bass rounds off the live set. Their final unreleased track felt like the rebuild after a long journey.
Watching Armlock, you get the sense that you're being held, guided and reminded that it's okay not to be okay.
Support came from Bridge Dog, Paint and a post-gig DJ set from Jim R3xy.
- written by Gabriel Stove
