If the ever-growing Albert’s Basement movement needed an event to mark its approximate one-year anniversary, this gala-like presentation showcasing some of its finest acts represented a major triumph – and gave an indication of the depth of talent and conviction of intent of the scene. Since its inception in early 2007, the Albert’s Basement moniker, centred on the curatorship of Michael Zulicki, has put on a seemingly endless stream of gigs around Melbourne’s inner-north.

As an avid lover of the local musical climate, Zulicki’s aim is to present as many acts as possible.  While some of these inevitably exist between the cracks, Albert’s Basement has also played host to more prominent names such as Damo Suzuki of seminal Krautrockers Can, as well as the more overground from the Melbourne underground (Kes Band, Pikelet). After a live recording was made at house-gig in mid-07, Zulicki organised a series of ‘benefits’ to fund the pressing of a vinyl album of the recording.  The East Brunswick Club served as a perfectly sumptuous venue to launch the vinyl compilation of the night’s billed acts.  

The sheer regularity of Albert’s Basement gigs means that often they are under-attended.  Even though the East Brunswick was cut in half with the help of a large black curtain, proceedings began slowly and only a faithful handful arrived early enough to see Fulton Girls Club. The project of American-born Grant Gronewold, Fulton Girls Club is one of Albert’s Basement’s more leftfield stalwarts. Choosing either to daintily strum an electric guitar, or to simply tap out beats on his thighs, he sings soft, introspective songs that either demand your utmost attention or invite complete ignorance. The powerful sound system at the East meant that we could hear his voice, however, and Gronewold’s lyrical honesty and lack of artifice are refreshing when one considers the gimmicks with which many solo singer-songwriters ply their trade.     
      
Up next were The Psuche Ensemble, a band who seem to perform in different incarnations every time I see them, but who are ultimately centred around bandleader Oscar Slorach-Thorn on organ and guitar.  Their saxophonist was missing, and they eschewed live drums for an old Casio keyboard, however, the strange songs of Slorach-Thorn provide such a structure as to translate well in any form from gig to gig.  While technical issues marred the flow of their set, the particular atmosphere created by organ, clarinet and various percussion instruments meant another fine performance from the band. With a record on the way produced by Nick Huggins, The Psuche Ensemble could be a band to take note of.    
    
Another of the fantastically unconventional stalwarts of Albert’s Basement is Patinka Cha Cha, a duo of heavily delayed and processed guitar augmented by tom and cymbal drumming.  The exceptional Free Jazz meets Post-Rock guitar playing of Tash Rose sounded awesome through the East’s sound-system and was able to permeate the room and create ambience in a way that is impossible at the smaller venues the band usually plays.   

With the three most experimental bands having already performed, Seagull was the first band to present the crowd with what may be termed ‘conventional pop songs’- though at an Albert’s Basement gig the trio of guitar, bass and drums rarely signals something generic. Formed around Chris Bolton’s idiosyncratic folk-rock songwriting, the band treat structure as fluid and approach the atonal rhythm of Post Punk in many of their arrangements. After some recent line-up changes, Seagull seem to be finding their feet again, receiving some attention on JJJ and RRR with last year’s debut EP and recently completing an album with Nick Huggins. Bolton will also be touring solo as Seagull nationally from May with Whitley.     

The second-last act of the evening was to be the last gig for Humansixbillion – and indeed, the sight of a very pregnant Fumiko Head on Rhodes piano was sufficient proof as to why.  Humansixbillion are a band centred on husband Peter Head’s song-craft. While this formula may be akin to Seagull’s, where Chris Bolton’s lyrics are social-surrealist, Head’s are social-realist. He is a man concerned with real ‘issues’, but his lyrics are pensive and questioning, and avoid the pitfall of preachy confidence. Furthermore, the interplay of such thematic lyrics with a deliciously ramshackle backing band, taking in cello, bass and the tinkling Rhodes, is a perfect foil to Head’s at-heart serious musings and we can only hope that we will see Humansixbillion as a whole again someday.  For the time being, we at least have Head performing solo as Peter Joseph Head.    

Perfect closing act Touch Typist are by far the slickest of the Albert’s Basement bands. A consummately professional trio comprising the omnipresent singer-songwriter/producer Nick Huggins, drummer Mark Gretton and Tiggus (Huggins’ brother) on keys/laptop, Touch Typist performed with a minimum of fuss befitting their dreamy blend of digital noise, expansive guitar, unobtrusive tuneful vocals and jazzy drumming. Perhaps the most aboveground of the bands for the evening, Touch Typist has recently been released through Sydney’s Feral Media PowWow series, as well as a well-received release of Huggins’ solo Shipwreck LP.   

Albert’s Basement is a curious phenomenon; simultaneously welcoming and insular in feel. Mickey has told me in the past that more than anything he wants to create a platform for those artists who may fall by the wayside. More than merely showcasing the older and more established acts, however, this gig provided a chance for the bands to perform in a resplendent setting not often afforded them. While Albert’s Basement’s MySpace does not register any upcoming gigs, there will no doubt be more, and more talent coming through.  As a network and booking agency of sorts for Melbourne’s interconnected and experimental-leaning musicians, Zulicki is doing a beautiful thing.