Review – The Presets Galvanized The Bluebird

Ironically, The Presets — Australia’s foremost punk-electronica duo graced a small crowd at The Bluebird Theater last night touring behind their latest album, Hi Viz. For many, The Presets exist in the now-mythical universe of overdue ’00s electronica alongside artists like Digitalism, Justice and Simian Mobile Disco. “Bloghouse,” as the genre was later dubbed has been an indie-dance explosion comprising thick electronic beats, indie-rock vocals and propelled by blog fandom. But, for some reason, as the world of EDM took the masses by storm along with the Swedish House Mafia’s along with the Calvin Harris’ of this world rose into a new dominance, “bloghouse” and also lots of the founders within the genre fell by the wayside buried in a thing not as visceral and manic, in its own place, something candy-coated and euphoric. The Presets, since it sounds, are a few of the survivors of the era, and their performance at the Bluebird, a time capsule to if folks danced themselves tidy to a fantasy of sawtooth synths, rebel rousing vocals and filthy beats.

The Presets

New songs like “Martini” and “14U+14ME” were rapturous since they were unleashed upon the crowd. Together with drummer Kim Moyes thumping something menacing in the drums and singer Julian Hamilton injecting sharp — almost spoken vocals to the mix– it was truly something galvanizing. None more so than possibly The Presets’ most electrifying song, “My People. ” Fists rose from the air, and individuals stomped out their angst into the tunes’ devastatingly driving synth line and rickety “Na Na” chorus. If there was ever a contest for a song to get the masses mobilized, this one would lead the bunch, even though it meant only mobilizing the dancing floor. During, for only being two individuals, there was never a moment once the performance fell out of their grip — if anything else, we all unwittingly played .

Such was the situation of The Presets show — a continuous feeling of shock, since the legs kept moving little thought or concern to what came next. The flow of the performance was ever-charging using a visceral power that simply refused to provide. The Presets didn’t just throw it straight back, rather they threw us having us dancing as if there is no tomorrow. In actuality, the real travesty of everything was a very simple understanding — why neglect ’t folks dance like this anymore?

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