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The Creative Issue – News for Creatives | June 2, 2020

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Review: Glass Ocean @ The Outpost

Review: Glass Ocean @ The Outpost
Reece Dargie

Sydney’s Glass Ocean along with Ballarat’s Ebonivory dropped in to treat their Brisbane fans to a sophisticated night of progressive music. Tonight’s attendees walk across clean floors to the leather booths inside The Outpost, all while the chaos of The Valley ferments outside. The chic decor of the venue is contrasting to the precinct’s more turbulent experiences you’d expect on a Saturday night, marking the field for tonight’s bands.

A Place In Prague are here for kick-off, dismissing any doubts of arriving early with their tasteful strain of post-hardcore. A stylistic surprise, but the shared influences and elaborate arrangements proved they hold their ground on this lineup. Their post-rock sensibilities of understated guitar tones and lively riffs surely swooned the guy in the crowd wearing a LITE t-shirt. The clean rock arrangements paired with angsty vocals and forceful drum patterns are reminiscent of bands like Pianos Become The Teeth, quickly selling the audience on Prague’s potential.

Next, Weightless In Orbit‘s frontperson Brandon Mamata engages the room with his profound romance for both his guitar and the microphone, exhibiting honeymoon-like chemistry despite knowing every freckle and wart on his guitar’s body. The setlist spans a variety of metal, post and jazz influences; employing a distinct style that will undoubtedly prove to be timeless. The balance between meticulously arranged parts and comfortably affluent improvisation is something to be marvelled, with countless moments of awe felt throughout the audience. In a carefree and humble moment, Brandon muttered something along the lines of “if you just walked in and you don’t know who we are… I guess someone will, and in a way proved that Weightless In Orbit can hold an audience’s attention without ever trying to cater to them.

 

 

Ballarat’s Ebonivory follow up with the heaviest set of the night, winning any sceptics with their faultless performance and impressive lighting show. Periphery-level technical proficiency across all instruments, an Ebonivory show easily holds up with Australia’s notable metalcore exports and reignites the intrigue you had with djent ten years ago.

Glass Ocean claim the stage in their matching white, tucked-in button-ups; almost like the room was themed for this occasion. Dressed to impress, the audience members swiftly decide they too will open with ‘Winterhold’ when meeting their partner’s parents. For the first taster of new material, the next two tracks feature commanding bass lines like a vibrant and catchier version of Tesseract. A short and sweet lull takes place with ‘Eternity’, giving space to Tobias Atkin’s magnetising vocal style.

With modern progressive music well and truly established throughout the night, ‘The Mystery’ and ‘What Plato Said’ support their unmistakably unique way of adopting older progressive pop influences in a current setting. Glass Ocean conclude an eclectic night with two tracks from their upcoming August release, destined to cement themselves as a top-shelf drawing card for the genre.

Catch Glass Ocean and Ebonivory around the country this March on “The After Dark” tour.

Image Credit: Reece Dargie