It is a giddy feeling when it comes to recalling the events of Meredith 23. This year’s line-up features some of the best talent to grace the Sup and it seems the feeling is mutual, as this year holds the best of everything in every aspect!

A bit of a warm up the night before sees Brisbane expatriates Shuriken and Minimum Chips break their lengthy hiatuses for a reunion show at Melbourne’s Edinburgh Castle (Sorry Brisbane, hold yo’ hate that it wasn't local!) and it was an evening packed with entertainment; with Shuriken ranging from heavy and melodic while Minimum Chips bring quirky pop that resonates throughout the packed band room. The supports are equal highlights with Drowning Hell (two-piece made up of members of No Anchor and Scul Hazzards respectively) are heavy as shit with a wall of amps churning out semi improv drone and noise. While perhaps an odd choice on paper, local Pale Earth in his first Melbourne show makes a wonderful opener, bringing experimental electronic sounds to the eclectic bill. The only downer is no bar specials and having to fork out a higher amount for a pint than admission.

Now to the (well, the beginning of) main event. The two-odd-hour bus ride to the festival from Melbourne CBD is always a beautiful one. One part anxiety, one part fuck yeah and two parts beauty. For those unfamiliar, Meredith began a meagre 23 years ago and in its current carnation features one stage (that almost runs 24 hours) BYO (yes, no having to sneak vodka in water bottles here), a No Dickheads policy (that works!) and a rich history just to name a few elements. It is more of a home than reality to its welcoming attendees whom are capped by 500 people this year for comfort (who lowers attendance to create a better festival? Oh baby!)

With tents set up and ice purchased, punters begin to descend upon the amphitheatre and as the onstage clock countdown like its New Year’s Eve 1999 drinks flow through mouths like there’s no tomorrow. Then, as the clock runs out it is officially part-ay time and Melbourne drinkers and rock and over rollers Warped kick off the festival and it is clear we have a weekend of highlights ahead as the band own their set of which dedicated to recently departed Midget/Starboard talent Chris Moller. Though we didn't get the famed valiant that drove the band direct to the front of the stage 12 years ago, the band still deliver on a truly polished set.

Then come Stonefield whom don't own the amphitheatre as much and instead attempt to turn the place into their parent’s dirty vinyl collection. The inaugural Triple J Unearthed High winners though appreciated by some are just a bit boring and fall to close to their influences on the live stage. Like countless young upstarts from Australian Idol and um… Operator Please, fortunately we won’t have to worry about mediocrity of this capacity for some time and the fact that most bars don't let minors play in pubs is another benefit! Oh wait, they're over 18. Oh well. Filling in for an ill Vance Joy, Castlemaine king DD Dumbo owns the amphitheatre and gives it a much needed dose of pep as the young upstart loops and harmonises his way through an ever intriguing set of upbeat pop numbers always highlighted by his clever live drum loops.

Their name has been on the mouths of many Meredith and Golden Plains goers for some time now, and finely the Sup is graced by the one and only Deerhunter. They begin with Earthquake and are about to reach the tracks climax until the ever charismatic Bradford Cox spots a spider by his pedals and everything screeches to a halt as a staff member removes the apparently crab sized spider from the stage and they begin the track again to which the results were the expected awesome. The set features largely and the sound/set up of which is influenced by the groups brash oddity Monomania and it is loud and drenched in feedback and at times can be taken as alienating to fans of the groups earlier work, though Revival holds a lot of its original aesthetic and is a notable highlight. The band finish with the monstrous Monomania and it is a horrible thing to leave on as it is just so damn good and feels as if the band had at least a decent number of tracks left in them.

As Melvins two drum kits are rolled onto stage the anticipation of something amazing about to happen is universal and appearances don't lie as the band without a doubt deliver one of the highlight sets of the weekend, or for that matter of recent times in the amphitheatre. Buzz Osbourne is one of the most commanding front men alive and throughout the whole set he is simply a marvel to watch be it his guitar playing or his faultless voice. The whole set is mind boggling though what sends it into the stratosphere is its final 15mins as Roman Dog Bird sends the band out with a stellar drum dual between Dale Crover and Mike Dillard and it is simply an assault on what has come before. A must see in this, or any environment!

As the sun goes down just short of 9:30 (stupid daylight savings!) Worlds End Press have gone all out for their set tonight, with mirrored walls suspended from the back of the stage and a cavalcade of lighting designed to create a world on its own. It is a stellar set of danceable modern electronica which highlights their upcoming record in the light it should be UNTIL they decide to bust out backing dancers for their final track of which overshadows the entire performance. It was lame; it was stupid and totally needless! If you have an audience of 10,000-odd lapping up your performance you don't need some pseudo strippers taking over the stage trying to take your limelight.

Brian Jonestown Masacare are up next and it is a bit of a dull affair. The band essentially just gets up for their hour and then gets off. While that is expected, the way they present the songs feels as if there is zero (!) room for these songs to taken on any different form than on record, no improvisation or anything it is a very by the book set. Though that does sound harsh, what it does achieve is highlight the power of the tracks on show When Jokers Attack and snidely hit Not if You Were the Last Dandy on Earth are bloody on fire but it feels as if I could get a more interesting result at home with the stereo on loud or even better Dig! which, judging by the band it seems they'd rather be doing the same thing. Clairy Browne and the Bangin' Rackettes add a considerable amount of energy into the mix following Jonestown’s downward journey and their odd midnight timeslot is nothing but a treat with vintage soul oozing out of every orifice imaginable. It is a bit of a deterrent for some awaiting the late night 'bangers' but they eventually come round by the end of the set with a thunderous applause throughout the valley.

Things were a bit like this by Le1f's set…Yeeeaaahhhh

Then like life imitating art the amphitheatre erupted in what can be described as one of the most universally appreciated acts received in the late night slot. Shit was loud, and with each 808 hit it felt like a lung could collapse as dark EDM mashed with slices of r’n’b and of course Le1f's notable style of rapping takes over and consumes the body with uncontrollable grinding happening left, right and centre. Flyzone openers Float and Spa Day feel like a bump to the real gram which is Wut with its distinct horn line and chorus being standard knowledge amongst the audience.

Jon Hopkins had quite the act to follow and he seamlessly takes straight over and delivers another true highlight set. He rarely shows his attention from behind his laptop setup and he doesn’t need to, as the master of the side chain lets the beats speak for themselves. He largely draws from and reinterprets moments from Immunity though the thing feels as if it could be a new record on its own. Hopkins’ backing light show is also otherworldly, making it instant fodder for the chemical-based life forms in attendance. Collider caps off a masterful set by a master of the genre and it is how the late night program should be. Melbourne's Roland Tings follows and is a bit more of a comparative come down to the intensity of the last few hours of entertainment. It is a tad generic and forgettable, but none the less entertaining for those involved. He then paves the way for the early coming of the one and only Silence Wedge which was once again seen by many and unknown to so few as to the natural talent involved.

Day 2 and 3 coming soon… Stay tuned.

brad