The Rapture, Azari & III
Post-punk pioneers cause a dance floor fury of almost biblical proportions
First published on . Updated on 9 Mar 2012.
Given the recent weather conditions reeking havoc across the city, you’d be forgiven for becoming concerned if overhearing talk that ‘the rapture was coming’ to Sydney. Well, perhaps not, but in any case, the Brooklyn band’s show tonight would’ve been a joyous moment to behold even if the end was truly nigh.
As forerunners of the post-punk revival, the Rapture have been much loved by fans, and much admired by those whom they've influenced (Bloc Party, Phoenix, Yeah Yeah Yeahs et al), since they emerged on the scene at the turn of the century.
There was a long wait for last year’s release, In the Grace of Your Love (five years to be precise) and the album’s title track kicks off a show that spans their three full-length albums with precise balance. They do take a few songs to find their stride, but soon burst into a trio of tracks from the album’s predecessor, Pieces of the People We Love, which graciously plays into the hands of the crowd. The superb ‘Get Myself Into It’ still carries plenty of weight after all this time. It utilises Gabriel Andruzzi’s trademark saxophone, and is sandwiched between collections of spring-heeled beats that fully explain the band’s continued prominence on the scene. Imitators have tried and failed since they first arrived, but only a handful still whet the appetite like Luke Jenner’s genre-shifting outfit can.
Their debut album proper, Echoes – the record central to the whole revival – is by no means ignored, despite there being a fine choice of new tracks available, and rightly so. ‘Killing’ is delivered with the kind of menacing venom in Jenner’s vocals that you’d expect from such an abruptly titled song. ‘Olio’ has a hypnotic loop and dark, claustrophobic beats, whilst ‘House Of Jealous Lovers’ is still as infectious as ever, it's demonic repetition of the song’s title making for a frenzied sing-a-long.
Whilst it’s fantastic to be reminded of the band’s beginnings, additional numbers from their latest release get an equally strong reception. ‘Sail Away’ sees Jenner’s longing cries drift over minimalist synth sounds; the feel is similar during ‘Miss You’, only with a more dance floor-friendly beat. ‘Children’ continues the latest album’s trend of building a progressive euphoria around scarce but tender lyrics.
Creating music that urges you to move your feet (whether you want to or not) has been key to the band’s notoriety. Their ability to find a hook that reels you in is second to none. After an insistent rendition of ‘No Sex For Ben’, these points are underlined, but they are put in bold and italicised with the show’s parting gift, ‘How Deep Is Your Love?’ It is a pounding piece of disco-infused house that homes in on a Grade 1 piano chord. It’s a faultless testament to how deeply relevant the Rapture remains.
Words by Stuart Holmes
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