Held in a unique setting in the secluded and quiet suburb of Pine Hill, Dunedin's Feastock sees a local flat transform a natural backyard amphitheater into a beautiful tree-lined venue for an annual day of socialising, BYO and bands. Actually, calling Feastock "Dunedin's" is probably a bit of a misnomer. Geography aside, Feastock has always felt like pure Invercargill; the audience equal part bogans in black T-shirts drinking Diesel, dreadlocked hippies and ageing punks, with a musical allegiance often characterised by what I once described as "the Invercargill sound": a grunge/dub fusion typified by festival organisers, and this year's headliners Left or Right.
Now in its fourth year, production-wise Feastock has continually upped its game. In tandem with the pro-quality sound and lighting rig and typical festival amenities (more portaloos than at the whole of this years CALH), this year's ticket came bundled with a CD sampler and complimentary entry and transport to the official after party. Following last year's muddy, wet affair, it was also distinctly pleasing to see perfect weather present throughout the day.
Sadly, however, musical similarities of the past events seemed further exacerbated in 2012; the majority of acts reducible into a broad pastiche of impersonations encompassing either New Zealand Roots or divergent takes on grungy metal, the diversity provided by TFF's blasted noise, Knives at Noon's synth-driven pop (both '10), or the sonic complexity of Operation Rolling Thunder and Mountaineater ('11) sorely missing.
Loop technician, Oleh, caught my attention with his technical mastery of numerous layers, beatboxing and Kaoss pads lining a heavy, danceable dub. Stylistically rooted in up-strum reggae, Oleh intelligently sidestepped the genre's bland excesses, leaving only the deep sub-bass, laxed vibe and Pacifica harmony. Sadly, it's more than can be said for both Soulsytem and Rhythmonyx, who copped the genre wholesale, relying on Six60 drum'n'bass, and clichéd repetitive progressions heard everywhere from Kora to Shapeshifter. Talented instrumentalists, but just not my deal.
Osmium, bearded to the hilt, delivered a dense taut-metal groove. Frontman Cameron Leslie's foot stomping stage antics and Layne Staley vocals, sat atop the precise riffs and technical rhythm changes you'd expect, without sounding too derivative. In a similar vein were Made in China who, while slightly more commercial, still echoed a similar Dirt era grunge rock chug.
