PerthZine

Tag: album review

  • Classic Album Review – The Kill Devil Hills: MATANGO!

    Classic Album Review – The Kill Devil Hills: MATANGO!

    The Hills Kill

    Rating: 4 out of 5.

    With The Kill Devil Hills about to take over Mojos, we thought it’d be worth revisiting their last album MATANGO! Yes, we are calling it a classic album (let’s say anything over 12 months old counts).

    The album is an experimental, creeky alt-rock musical sprawl, with all band members stepping to the plate for big hits — even the backing vocalists are star players. The first track, Survivor Guilt, goes the furthest and sounds close to late Bowie, with a heartbeat-like rhythm and horror-movie vocals.

    This Is Karrakatta sets the tone for the rest of the album. Dirty, bluesy rock with a stomping rhythm section and the repetitive lyric “this is Karrakatta, mind over matter” forming the main hook. Meanwhile, singer Brendan Humphries paints a vivid image of the Perth/Boorloo suburb and train line.

    Humphries’ deep vocal tone goes to another level on The Day the Dinosaurs Died — smooth and deep, and best described as somewhere between Bowie and Nick Cave. Alongside the Cretaceous lyrical subject matter, it makes for a great tune. Atomic Kitty plays like a slow and swampy single but with something murderous underneath, and any song called Unlike Hemingway Said can only be a banger. It’s one of the faster, grindier tracks on the record.

    New Ordos is drifting into Floyd territory, if they were sitting in an old shack by the creek. The lyrics are dense with imagery — “and drown me in freshwater, I’ve got crystal left for grit” — and it just gets deeper. The song soars in the middle, with a swelling soundscape topped by big guitars. We then get the signature ballad, Weight of a Woman, to close out the album. Gentle, full of emotion, and it only cuts through more when the fine string solo plays.

    Look at that, I went the whole review without gushing over drummer Todd Pickett (he’s not just a drummer either). That’s a good milestone. Unlikely to be repeated after Saturday night. The Kill Devil Hills are one of the best bands in this town, maybe new music on the way?

    The Kill Devil Hills play Mojos Bar on Saturday, April 11.

  • Album Review – Deep Beep: Soft Honk (2026)

    Album Review – Deep Beep: Soft Honk (2026)

    The Beeps are Deep

    Rating: 4 out of 5.

    Soft Honk is the latest from Perth/Boorloo space-psych rockers Deep Beep. Their second offering is developed, epic, and full of god-like riffage. The beeps go deep.

    The 5-track album is a step up in performance and production from the moment the chugging guitars enter in Diesel & Meth. The soundscape builds as the mix introduces each instrument, none overworking but all constructing something. It has Floyd feels, but vocalist Matt Rudas has enough Perth twang to make it local, and the vibrato guitar hits are inspired in both position and tone. Listen for the bap bap vocal breakdown in the middle. This is the Deep, so the song is soaring by the end. It sounds enormous.

    If you want good balance – add something catchier after the epic intro. You’ll Never Be My Baby is a good choice. It’s a post-rock pop song (sorry), not far from what Interpol were doing in the noughties, but proggier. The guitar lead line following the introductory “babys” is gorgeous. Cam Sims and Rudas’ guitar work – they got melody too, these lads.

    Atlantiss is another level again, out of the depths of the ocean where prog was born. The super heavy riff that repeats throughout the song is one of the best moments on the record, getting a little bit middle period muse-y. Super catchy and the airwaves agree, with the tune getting plenty of radio play. It’s a real journey.

    The epic-ness is well and truly underway by the middle, but the biggest is yet to come. For the true epic we must turn to Tell it to the Mountain. It’s about mountains (or one mountain) and runs the longest at nine and a half minutes. Don’t get the wrong idea, it’s not all prog parading, the song also has a hell of a singalong chorus – “take all your troubles, go and tell it to the mountain”. It’s another high point of the record and showcases the dynamics of the rhythm section, Josh Watkins’ drums ebbing and flowing until the ending explodes.

    Braden’s Lament brings the journey to a close in a descent into sample and noise jamming madness. The secret-song like track summarises the band up well actually. A bit mad and not unwilling to play around. Not all serious-musicianmanship progressive rock, this is a bit different. It seems a reasonable summary of Deep Beep, given how much fun the album is. The name says it all.

    Soft Honk was recorded at Rada Studios.

    Deep Beep play live this Saturday night at Four5Nine Bar.

    The band: Jerome Kennedy – Bass, Matt Rudas – vocals/guitar, Cam Sims – guitar, Andy Bartlett – Keys, Josh Watkins – drums.

    Album One: Mind the Brain (2023)

  • Album Review – The Psychotic Reactions: FeelinHealin (2026)

    Album Review – The Psychotic Reactions: FeelinHealin (2026)

    Feel it, heal it

    Rating: 4 out of 5.

    The latest offering from The Psychotic Reactions is full of psych goodness and a mix of longer jams and short hits across the fourteen-track album. Split into two halves – healin’ and feelin’ – the Reactions are gettin’ concept on us.

    Opening with a sample telling us to push ourselves to greater things, Intro sets the scene for the album, with a groove sitting right in the pocket, accompanied by dirty lead licks and vintage keys. It’s sparse and knows when to fill the little gaps.

    Ask follows the intro jam and offers the antithesis to the opener. Danceable, catchy guitar licks, and closer to the indie-pop sound Perth (Boorloo) is known for (let’s call it a little bit of late 80s Pixie-era indie-rock but also leaning on 90s indie-pop). It’s also an intimate portrait of the darkness that can lie deep in the mind, released at the end by a searing guitar solo.

    The immediate response is Answer. The band mellows momentarily as guitarist/singer Hannah Smillie ponders her inner self and tells her friends she’s going to open up and be honest about what’s going on inside, singing the hook “all you had to do was ask” as a signal to the future. There is a concept-like connection between the tracks, linking the songs in sound while shifting in mood. Clearing the Air keeps the tempo down with a mellow jangle, before building to one of the best guitar moments on the album in a slow-blues jam.

    How Can They Sleep? is acoustic psychedelic dreamscape with 60s/90s influence. The biggest moment comes when Smillie, backed by harmonies, sings “you don’t get it, we gotta change it”. It could be the album’s strongest track; it has everything that makes the band pop. Don’t Take My Side backs this with a real showcase of Smillie’s vocal range, moving from pop drawl to something more bar-room smokiness.

    It’s hard not to focus on the guitar work, as yet another tune delivers plenty of bluesy-psych lead work. A Minor Spoken Word (I’m a sucker for these spoken word jam tracks) sees the continued restraint from rhythm section Jacob McAneny (bass) and Rory Lowe McLoughlin (drums). The two are rock tight as Smillie riffs both verbally and with her axe, with some Echoes-esque noise work holding the tension.

    The album’s healin’ half starts with, you guessed it, Healing. Essentially the album title track with the chorus vocal hook “now baby I’m healin’, how’s that making you feelin’”. We’re almost in Portishead territory now, with synth loops and trip-hop beats from McLoughlin going for late night Rage feels.

    Growing Old is the single of the album with the gorgeous chorus “and I realise, I’m not mad about growing old” full of melody and harmonies. Did I mention Smillie’s guitar work – as sharp and soulful as ever here. The song is pure pop goodness with edges.

    We then enter classic 60s psychedelia with Take It Easy. The track is about as pop as the band get, and comparing to the 60s doesn’t do it justice, as there are touches of 80s and 90s indie-pop resonant throughout. If that wasn’t enough, country-pop barnstormer Chills & Fever comes along and says you ain’t seen danceable yet (this is pure early 60s rock n roll from 1961, originally by Johnny Love and His Orchestra). Punk, rock n roll (aren’t they the same thing deep down), country, catchy as hell.

    The Psychotic Reactions close out with Black Coffee, and the versatility of the trio shines again. It’s a nice approach having the jam-out songs early on and the happier, poppier tunes at the back, to go along with the conceptual split between feelin’ and healin’. Keep ending on positive vibes; if we all approached life like FeelinHealin, wouldn’t it be a trip.

  • Album Review – Bribes: Caught in the Corners (2026)

    Album Review – Bribes: Caught in the Corners (2026)

    Sophomore Effort Delivers

    Rating: 4 out of 5.

    Caught in the Corners is the latest offering from Perth band Bribes. The four-piece’s second album is a mature and polished effort, capturing just how far the band have come since their debut.

    Opening strongly with Head, the sound fades in and quickly rises with synth-backed energy that explodes into one of the strongest tracks on the album. Ribcage follows with a nice little bassline hook opening the track, and moody organs keeping things mellow before the track builds up to a stop start chorus with some fine harmonising just a tiny bit reminiscent of a certain 90’s classic involving crash test dummies.

    It is then time for a change in lead vocal duties on Pale Blue Bowl. The acoustic driven track featuring string accompaniment is short and punchy. Joined by Gidge Ridge which features lovely horns and fine guitar work, the tracks pair up nicely, starting slow and building towards a crescendo. Looking forward to seeing if the band adds the strings and horns for the album launch at The Bird (I’ve heard rumours 😉).

    This middle section of the album has some excellent production – great guitar sound in particular from Ange and Aaron. Carnage works nicely with its percussive intro and excellent subdued riff. Undiagnosed goes deep into symbolism in Danyon’s youth, with a clear message many can relate to these days.

    Imbue changes things up with an almost post-rock feel, if it was played at a carnival. It’s a great song to bring things back up. Paired with As a Vice we can call this the quirky section of the album, with the rhythms and arrangements getting a bit further out there than the rest of the album; it’s a nice change up.

    Don’t Let It End could be called the single of the album (there are a few that could meet these criteria to be fair), and is catchy as hell with the pop synth hooks and dancey chorus. We are then hit with the punk rock of Deceased Estate, also laden with plenty of synth hooks behind Ange’s vocals and crazy horn solos.

    Rounding the album out is the fine Spider and the Glass, which has a nineties alt rock feel to it that brings to mind the bands of the late nineties Aussie rock boom. It’s the longest track on the album and worth listening through to the frantic ending, sounds like a song that would translate well live.

    Caught in the Corners is out now, and I strongly suggest not missing the launch at The Bird tonight which promises to be a special one with guest performers and an excellent line up of support acts.

  • Album Review – Stella Donnelly: Love and Fortune

    Album Review – Stella Donnelly: Love and Fortune

    Stella

    Rating: 4 out of 5.

    Stella Donnelly is back with more polish and songwriting maturity on Love and Fortune. From the outset the album sets a standard and doesn’t flinch, nor does Donnelly with her candid, confessional storytelling.

    Backed by an excellent band, the album is tight, well produced and navigates the full range of Stella’s arsenal – from catchy guitar pop to electronic synth driven exploration, often in the same song.

    Opening track Standing Ovation shows this in full force. Honest lyrics about teen love over a ‘verby synth hook, starting out slow dance before suddenly kicking into the jangly pop Stella is known for.

    The album continues the balance of guitar driven, synthy introspect throughout. Being Nice, clocking in at 1:41, is short, sweet, poppy, and full of lyrical sharpness. Feel It Change pangs with relationship problems (“I love you baby, but I’m scared to be near ya”) backed by catchy guitar licks.

    Folky a cappella follows with Baths, another short one at 1:48. Memories of family life, with the smallest hint of synth swirling in the background.

    In Please Everyone she sings “I offered up my shoulder you could lean upon, but you climb right on”, then takes a turn reversing who’s leaning on who; it’s quality, soul open songwriting.

    The best part of the album comes in the gentle but still catchy combination of Ghosts and Love and Fortune. Ghosts is a gorgeous drifting tune with Stella’s vocals backed by an infectious piano lick.

    I can imagine a crowd singing along to the title track. It creeps up on you and once she starts singing “Love and fortune, wait in the hallway to greet you” you are hooked. It’s a soft track so we’re not talking anthem singalong, more like everyone swaying along and singing with all their hearts.

    The album closer, Laying Low, is a highlight of Donnelly’s juxtaposition of sweetness and slightly unstable melodies. A synth riff driving the verses creates that tension, but Donnelly’s vocals ground the song and lead into her classic style of chorus.

    Love and Fortune is an excellent record and a sign of an evolving artist, letting it all out as she has always done, while also allowing us all in to share the catharsis in great, catchy indie pop music.

  • Album Review – New Nausea: Music For Frogs (2026)

    Album Review – New Nausea: Music For Frogs (2026)

    Ribbit

    Rating: 3.5 out of 5.

    The latest from New Nausea, Music For Frogs is an eclectic mix of indie pop sounds from the Perth group. Apparently recorded over 6 years (or 6 years in the making), it is diverse, rich in melody, and awash with that sound which has become synonymous with Perth music of late.

    Opening with Destroy Everything (aside from the spoken intro, which appears in different forms throughout), the album promises to go introspective. An anthem of a tune with a lot of apologies for broken relationships mixed with lush pop guitar melodies; it’s a solid opener.

    The album seems DIY – the first tracks being the rawest of the bunch. Snow Globe is next with lots of nice guitar melodies playing around throughout. When Icu is the catchiest tune on the album, and if this doesn’t capture the modern Perth indie-pop sound nothing does. It’s energetic and memorable; a proper ear worm.

    After another frog interlude we move into what feels like a slight shift in sound, perhaps recording location or just a different setup? A little more Methyl Ethyl-esque with reverb-tinged guitar melodies playing throughout Slip the Punch.

    This continues with Sleepwalker, which feels like a bit of an album centrepiece. Reverby guitars sounding miles away, and nice whistling and synth hooks grabbing you and pulling you out of the ether.

    A bit more folk tinge follows in Only Ever Coming Down with some lovely violin accompaniments. The acoustic vibe continues through Say Anything before we meet with another frog interlude.

    As expected, we get another shift in vibe and the catchier Barnacle delivers plenty of catchiness, while not straying from the love-lost themes of the album. Then a bit of redemption on the relatively mellow Back On Top.

    An album of catharsis and getting yourself up out of a hole. Polished in parts, scrappy in others, it’s a solid effort from the Perth group.

  • Album Review – Dope Lemon: Golden Wolf (2025)

    Album Review – Dope Lemon: Golden Wolf (2025)

    Rating: 4 out of 5.

    One of the best albums of 2025, Angus Stone once again demonstrates he is as good a songwriter as Australia has produced. Between Angus and Julia, solo albums and Dope Lemon, he has been prolific with releases over the years. Golden Wolf is another gem, rich with catchy tunes and enough variation to keep it interesting.

    Starting things off with John Belushi, Stone and the band create a shimmering array of sounds that is big, full of hooks, and confident, and continues a line of songs referencing the rock n roll lifestyle. It’s an interesting concept and tribute to burning fast, but also doesn’t seem to romanticise the lifestyle, with lyrics “I’m going to give you all my love” and “You don’t have to go it alone” balancing the track with a message of support and love.

    This sound continues across Sugarcat and Electric Green Lambo before peaking with the title track, an excellent tune with a big stadium chorus, up there with Stone’s best work. At the age of 39 is he starting to focus more on the bigger questions in life? Escape, living your best life, and what lies after are all themes running through Golden Wolf.

    Then the album takes an interesting turn into Yamasuki – Yama Yama which is a great, unique tune – all the Dope Lemon cool but samples and loops throughout.

    A few more indie tracks, followed by another more out-there tune in Maggie’s Moonshine, with an almost trap like beat and smooth, laid-back vocals. On The 45 is catchy with great backing vocal hooks, very much in the Angus & Julia spectrum of sound, and full of on-the-road lyrics that also permeate through Stone’s catalogue.

    Ending on the instrumental, Dust Of A Thousand Stars, it’s nice to see these guys are willing to step outside the standard indie music and experiment a little, while keeping things poppy enough to hook you.