Young Revelry

Indie Album Of The Week: Young Revelry
You And I EP
Independent
***1/2

If there was a checklist to complete in order for a band to traverse successfully across a burgeoning music career, Perth’s Young Revelry have got the boxes ticked. Radio competition win? Check. Opening slot at national festival? Check. Highly-rotated single on national airwaves? Check. So on the well-thumbed blueprint of working bands, the obvious next step would be the debut EP – and where better to record it than in a studio deep in Margaret River’s rural heartland, with producer Woody Annison (Red Riders, Children Collide, Cabins) in tow. Young Revelry’s seven-tracker You And I is the result.



Their sound is an unapologetic nod to mid-nineties rock and from the outset, inescapable comparisons can be made to Placebo – especially in the songwriting and Sebastian Astone’s vocals (which are a dead ringer for Brian Molko’s). Sludgy, low-slung basslines and fuzzed-out guitars are the order of the day, as the band sway effortlessly between shoegaze and indie rock, steering clear of the simple hooks that make so much recent guitar-driven rock so turgid.

The EP leads in with the first single ‘You And I’ and with its incessant guitars and undeniably catchy chorus, it’s no wonder that triple j has gripped this with both hands and thrust it into rotation. Tracks like ‘Nineteen Seventy Three’ and ‘Here Now’ show the band’s propensity for noise and fuzz, while the EP’s two closers are the true stand-outs on the recording – ‘Came Back Today’ and ‘Old Souls’ are slices of Fugazi-esque post-punk complete with shout-along choruses and distortion pedal mashings.

This is a raw and promising debut from a band that should win a few more followers before their first LP.



Rick Warner
- The Brag

Perth newcomers Young Revelry opened this Easter Thursday gig. The four piece play a set of post alternate rock songs, with some awesome stoner rock moments and solid guitar riffs. The two guitarist / singers sound great together, feeding off each other and providing great harmonies. They take turns belting out lyrics, often singing, shouting and screaming over one another in an interesting combo. The drummer smashes his kit, his crazy side show bob curls flying everywhere as he pulses solid beats and heaving drum fills. The two singers perform well to the crowd as they play guitars behind their heads, howl into their mics, and provide a mountain of feedback. A good start to the night, from a band showing a great deal of promise.

Local boys Red Riders take to the stage and blast into an excellent hit filled set. Rickenbacker feedback and pounding drums launch into a fantastic rendition of C’mon then A.S.P.R.I.N. totally rocks the roof off the Metro. Polka dot clad singer / guitarist Alexander Griggs awkwardly proclaims “this one is a dance song, so let’s dance!” as they launch into crowd favourite Slide in Next to Me as the audience goes nuts, and dances wildly as instructed. My Love is Stronger than Your Love is preformed perfectly, with thumping drums and mesmerising guitar riffs. Having recently announced their split, tonight was their second last Sydney show ever, and the four piece give it their all as they close with the summery- sounding pop single Ordinary. Red Riders will certainly be missed as great rock / indie / pop song writers, and as favourites in the Aussie live scene. Their last farewell Sydney show should be a cracker – be there if you can.

Children Collide walk on stage into a wall of applause and feedback and smash straight into Chosen Armies . The crowd goes ape shit crazy as singer guitarist Johnny Mackay screams into his fender jaguar pickups, his signature delay soaked guitar resonating through the Metro. They go straight into crowd favourite Across the Earth with Ryan Caesar’s thunderous drums belting into the night, then blaze headlong into “Skeleton Dance” – dominating with an epic three song start to a heaving mosh, wild dancing and rapturous applause. They pause to thank the audience, giving them a brief rest as they throw lolly pops into the crowd, and announce that tonight’s show will be filmed in 3D.

The Melbourne three piece sound super tight tonight, and all three are incredibly talented musicians and great showmen on stage. A blistering Arrows has girls on shoulders, mad crowd surfing and a full on ballistic mosh pit front and centre- great to see the energetic crowd going nuts, feeding off the band’s energy. Then Jellylegs get the same crazed response- totally rocking, complete with manic guitar solos. Johnny thanks Red Riders, and fittingly dedicates Farewell Rocketship to them, demanding applause for “an amazing band breaking up before their time”. Johnny then dons Easter bunny ears as they blast out recent single My Eagle. Heath Crawley’s exalted bass introduction launches into Social Currency and the crowd totally lose their shit again. Johnny claims “we got one more song – we don’t do encores” and dives into the crowd for their final song, crowd surfing and lapping up the monster party vibe the band has created.

The whole set is pure balls out rock and roll, played perfectly from start to finish. An epic performance from a brilliantly talented band, and an awesome start to the Easter holidays.
- Fasterlouder

rating: 5/5


I keep listening to this song and it keeps growing like lantana. The guitars are great. Guitars are great anyway. But these guys know how to get the best out of them.

Richard Kingsmill, triple j

14 Sep, 2010

- Triple J

rating: 5/5


I keep listening to this song and it keeps growing like lantana. The guitars are great. Guitars are great anyway. But these guys know how to get the best out of them.

Richard Kingsmill, triple j

14 Sep, 2010

- Triple J

It was an old-fashioned Friday night at the pub. Hot as hell, too damn loud and thirsty as fuck. The Novocaines sweated up first, followed by Young Revelry in moody-trio mode. Both were clearly honoured to be on this line-up with that band.

Such is the rollercoaster ride that is You Am I that you never quite know how many folks will set out to see them when they visit. With the new self-titled album displaying a band in crack creative form, it was pleasing to see a packed Rosemount paying sweaty welcome to the band, who entered the fray as conquering heroes, to the tune of
Hard Knock Life from the musical Oliver!

As Tim Rogers copped the Friday night feel and leered “let’s get musical” into the mic, the stage seemed set for a rockin’ start, but the band kicked in with the new LP’s opener, We Hardly Knew You, a surreal and atmospheric piece that peaks with a Happiness Is A Warm Gun type riff explosion and did so on this night with aplomb. Followed by Kicking The Balustrade and (surprisingly sing-along-able) Shuck, it was a new album showcase to be sure, but after a bit of Almost Famous banter Rogers declared “enough of the art, let’s dance!” and the band were into She Digs Her, the rarely heard Someone Else’s Home and the white boy blues of Frightfully Moderne.

Rogers was in as fine a voice as he has ever been and better than in a long time. Messrs. Kent, Hopkinson and Lane acquitted themselves with the usual flying colours, while touring keyboard player, The Gin Club’s Dan Mansfield, lent new flavours to hits such as Trike and the more quirksome likes of Frightfully Moderne.

New album cuts such as Pinpricks, (the quite awesome) The Ocean and Triggerfinger were proffered in a set of newest new and oldest old, the latter including 1993’s Coprolalia, “from an era when men donned shorts to go onstage. T’was the best of times, t’was the most fucked of times”, Rogers joked of the grunge days. Resplendent – and committed - in a suit jacket even though the heat was intense, one can be assured that he has never hit the stage in shorts.

As the Rosemount drowned in sweats and the sound muddied up, the band pressed on as they do and few can. Damage, Get Up, Purple Sneakers, Cathy’s Clown, Mr Milk all reigned down in a set that somehow also fit in half of a brand new album. Ending with The Piano Up The Tree, the crowd was devotional, the band perhaps more so. You Am I may seem to get glossed over occasionally in the race for the next juggernaut or the new blood, but on nights like this they are Australia’s greatest rock’n’roll band.

_ BOB GORDON - Xpress Magazine

I still remember the first time I heard Young Revelry’s demos on myspace, immediately thinking I’d waited my whole music career to hear a band like this coming out of Australia.
‘You and I’ their debut EP was made earlier this year when the band bunkered down in a secluded location in WA. They drafted in producer Woody Annison (Children Collide, Red Riders, Black Cab) to help create their new wave grunge masterpiece.

The title single ‘You and I’ certainly leaves you wanting more with their semi dark lyrics, Seb’s almost haunting vocals which sit comfortably surrounded by rocking guitars and pumping bass lines. I think its safe to say Young Revelry are a guitar band!
‘Here Now’ instantly grabbed me the first time I heard it, its intense from start to finish and again is simply layered perfectly with vocals, guitars and bass along with a repetitive chorus that draws you in. ‘Came Back Today’, ‘Old Souls’ and the rest of the EP will not disappoint for everyone that’s waited eagerly for guitar bands to have a come back, this is only the beginning….
The thing I love most about this band though, is that they remind me so much of all my favourite bands from the early 90's, only I can’t put my finger directly on which ones.

EP OUT AUGUST 13th Via REDCAT SOUNDS

YOUNG REVELRY ARE TOURING NATIONALLY WITH CALLING ALL CARS IN SEPTEMBER.

- Speaker TV Blog

A tsunami of wailing guitar fuzz inundates The Zoo and sonically brutalises the ears of punters from front to back. Perth’s Young Revelry have an experimental feel to their approach, yet there’s a tangible and accessible heavy-rocking groove. Initially, vocals are irritatingly low in the mix, but then it becomes deafeningly clear that the guitars are the blaring heros of this ridiculously loud concoction. Drums are also a feature, with their accurately timed punctuation. As the all-too-short set closes with a ten minute (virtually) instrumental jam, the bar has been very impressively set.

Red Riders is the second band tonight that I’d heard of, but never heard, and upon writing this review I discover that this will also be the last time Brisbane sees the boys take to the stage. Once the drum-testing and pesky sound check is out of the way, the Sydney-spawned indie-rock begins. Unfortunately tonight, the four-piece is simply over-shadowed. With ears still ringing from the muscular riffs of the night’s openers, Red Riders’ set feels a little thin and flimsy, even a little ‘done before’. It’s fun and completely inoffensive, but expectations have been set, and they’re not quite being met.

By now the temperature in The Zoo is making another bar visit essential. With that out of the way and a quick detour to peruse the merch girl’s merchandise, I find the crowd has seriously pressed forward. This Melbourne three-piece has become a semi-regular staple and favourite on the festival circuit, so it’s always great to get intimately sweaty and squashed. A Children Collide gig is a no-bullshit affair and when the boys take the stage, small-talk takes a backseat to balls-to-the-floor rocking.

The band now have two full-length, hit-heavy albums to draw from and both cop a good visit. Across The Earth, Skeleton Dance and Chosen Armies from debut The Long Now come early and come hard. Singer/guitarist John Mackay has grown his grunge locks and like Sampson is clearly reaping the rewards. While his playing is clear and accurate his composure is ape-shit and frenetic.
Theory Of Everything is the band’s recent release and from it we hear Fashion Fits, Into The Sky With Ivy, Speed Of Sound, plus Triple J burners Jelly Legs and My Eagle. Banter is near on non-existent except for a few awkwardly timed in-jokes, but it’s the unrelenting, flawless rock show that we’ve all come to see. It’s not until the crowd is allowed to fill-in-the-gaps for commercial radio fave, Farewell Rocketship, that I disengage from the stage. Proclaiming “we never do encores and tonight won’t be any different” the onslaught finally ceases and I feels safe in saying nobody that saw Children Collide tonight left The Zoo feeling short changed. - Fasterlouder

Pounding bass-lines, fuzzy and heavily manipulated guitars bursting into sonic screeches mid-song. It was quite amazing the depth that they could conjure up within their music. With heavy use of pedals and a continuous thumping from the drummer, you could see the mix and match of different influences that have resulted in these tracks. One of the newer tracks, "Never That Close", went straight to the mark, slamming me out of my apathy, and demanding my attention. Not to mention the crowd favourite "You and I".

There's still time to catch Young Revelry on their Never that Close Tour with a couple of dates remaining. Bands like Young Revelry and Chicks Who Love Guns are few and far between. So take up the opportunity to watch them if you do get the chance.
- The AU Review

Young Revelry’s debut EP ’You and I’ comes at you like some 90s era beast rearing it’s head and gnawing some pretty impressive and noisy chops.

It reminds me of the best things I loved about that era – loud guitars, messy solos, feedback and vocals that carry more weight than just the clever lyrics they repeat. There are some quieter moments tucked away here too – providing enough light to contrast the heavily distorted shade.

Don’t get me wrong though, this isn’t some 90s revisionist act with nothing new to offer. They’ve got plenty fuzz, groove, depth but what’s special is the hint that sometime soon the shit is going to hit the fan and peoples minds are going to shoot out of their ears.

Young Rev have been teetering on the edge of releasing something awesome for a long while now. They’ve been frustratingly close but to give them credit have been holding back until they found the perfect home. The EP is out August 13 on the newly formed Redcat label. Once that’s out keep your eyes on peoples ears.
- Who the bloody hell are they?

Blending smooth, vocal-driven melodies with colossal, rippling walls of noise comes an indie-rock sound larger than life itself. Skewed textures echo and reverberate endlessly; swathing you in a rich and utterly bizarre airspace.



Such strange, and often unnerving qualities seem to be a real hallmark of Perth's alternative-rock scene these days. Sugar Army, Harlequin League and even more buttoned-down acts like Eskimo Joe seem to have a reciprocal air.





I've had my eye on these guys for a while now; they just seem to be getting better and better. Check out their latest single, from their soon-to-be released follow-up EP...
- Deaf Ambitions

Perth quartet Young Revelry have been floating around just under the radar for the past year or so now. They’ve been getting a fair bit of attention on their Triple J Unearthed page but certainly not being overplayed to the point of saturation. Their debut EP You and I showcases what the group has to offer, their accessible hard rock style reminiscent of British India or Children Collide and even at some points the early 90s grunge of Alice in Chains (the opening of ‘Reckless Minds’ being the prime example). You and I opens strongly with the title track, blending perfect pop craft with a heavier edge. ‘Nineteen Seventy Three’ is by far the stand out track, from the chunky opening bassline to the slight snarl of the moody vocals. The letdown though is the closing track, ‘A Noiseless Patient’. As much as I believe there is a place for instrumental tracks, I don’t think they belong on EPs with so little room to show what you have to offer, and particularly as a closing track. It feels like it was tacked on as an afterthought and adds nothing of value. However with the omission of the final track, You and I is a flowing, and easy to listen to extended play.
- Music For The Laundromat

Hipsters might be discarding their guitars for synths, but Young Revelry are here to prove that the six-string is as vital and relevant as ever. This rocking Perth trio channel the grunge gods of the early '90s into music that sounds anything but dated. Teaming up with acclaimed producer Woody Annison (the man behind records by Children Collide and Red Riders), Young Revelry dropped their debut EP You & I earlier this year, featuring seven tracks of fuzzed-out rock'n'roll.

So piss off your parents and neighbours by turning up Young Revelry reeeeeally loud - they're a rocking inclusion to this year's Next Crop.

Answers By: Seb Astone (vocalist/guitarist)

If you could collaborate with one Australian artist, who would it be and why?

It's hard to say, I have tried to write songs with people from other bands that are stylistically similar or that I think there would be some kind of initial spark there and usually it doesn't work out or is initially awkward and you end up writing your best songs with your friends and band mates. I would like to maybe try writing some kind of big Australian themed musical and getting John English to play the lead in it. I have always been a fan of old dark eyes.

What are your favourite songs to sing at karaoke?

'Africa' by Toto and 'Reckless' by Australian Crawl are big staples of my karaoke set. We actually drop the first verse of 'Reckless' in at the end of our set sometimes.

Which song do you wish you'd written?

I think it would be pretty awesome to go back in time, steal all your favorite bands songs and make a super album however to be totally honest, I wish I had written the Beverly Hills Cop theme. I think about 90% of the soundtrack for I, II, III and IV is just spin offs of the same piece of music using different arrangements and instruments. It's genius and probably one of the most well-known pieces of music ever written.

What's your earliest live music memory?

I used to go to day care after school and the woman who ran the center had a teenage son who used to let me go into his room and rummage through his CD collection and try and play his guitar. He was into stuff like Melvins, Nirvana, Smashing Pumpkins etc and I think it was probably the first time that I heard heavier music, I remember being totally enthralled by it. I formed an imaginary band with my other 9 year old buddies although I don't think they shared the same enthusiasm I did. It was around the same time that the Spice Girls were huge and even the boys in my class were into it, so trying to convince them to get their parents to buy them guitars as opposed to Power Rangers and Transformers was pretty futile.

I also remember going through my mum's record collection when I was about 3 or 4 and finding a copy of 'We Built This City' by Starship and being absolutely obsessed with it. I probably subsequently owe my whole my life to the band Starship.

What's the best thing about being in a band?

I think having any kind of artistic outlet is a good thing whatever it is. It's all I have ever wanted to do, so being able to fulfill that is really satisfying. Playing live is something that I always look forward to, I always get excited just before we play no matter what the gig is.

http://www.triplejunearthed.com/youngrevelry - Triple J