Sydney trio continue their success with a Britpop-fuelled sequel living up to its hype.
Following the success of Tame Impala, the Australian alternative music scene has been growing in international status. Few, however, have built as big a following outside their homeland as the DMA's. Partly due to the gruelling touring schedule that has seen the band
cover Australia, Europe and North America, partly also to their recognisable Britpop and noughties Indie influences - the Sydney three-piece has found some much-deserving attention. Their critically acclaimed debut album, Hills End
, saw them labelled as the 'Australian Oasis', and their new album Far Out
continues this comparison.
The title track from the album is a Roses-esque blistering introduction to the band's recognisable sound. The riff, drum rolls and vocals develop into a euphoric track that wouldn’t have been out of place during Britpop’s peak. 'Dawning' follows with a similarly upbeat indie anthem with an emphatic delivery.
The more melancholic tracks, 'Time and Money', 'In The Air' and 'The End' demonstrate the quality of Tommy O’Dell's vocals. Building on their earlier prominence displayed in their cover of Cher's 'Believe', and in no short part due to the introduction of Kim Moyes of The Presets, as producer. The progression in production from Hills End
shows how the Sydney-siders are concentrating more on the professionalism of their sound and songwriting, yet the shift away from the rough-around-the-edge delivery that their debut album and even opening tracks 'For Now' and 'Dawning' possess could end up distancing themselves from their signature sound.
The album’s mood picks straight up following 'The End' with the foot-tapping 'Warsaw'. A feel good song with melodic hooks reminiscent of The Cure, and continues the clean-cut delivery of the album, without fully venturing away from who theDMA's are. Despite the latter stages of the album not quite matching the first half, the band does try to listener engaged. 'Lazy Love' sees another dance-friendly love song, whilst 'Do I Need You Now?' retains some of the aggressive subtleties of the opening tracks before closing with a potentially soporific yet beautiful 'Emily Whyte'.
Successful first albums always lead to the pressure of the follow up, however, the DMA's seem to have basked in this. The trio have stuck to what they know with signs of greater maturity and evolution as songwriters, and despite not quite reaching the heights of their debut, they've delivered a follow up with enough quality to feel no shame. With support slots for the man himself, Liam Gallagher later in the year, the band can continue to build upon a strong foundation and more success surely awaits.
Listen to DMA's 'For Now' album in full below
Photograph Credit: Daniel Boud