facebook twitter Soundcloud YouTube instagram


Live Reviews

Black Honey – Concorde 2, Brighton
Black Honey

Concorde 2, Brighton
Baloji – The Haunt, Brighton

The Haunt, Brighton
Fatherson – Patterns, Brighton

Patterns, Brighton
Glasvegas – The Old Market, Hove

The Old Market, Hove

Most Popular Articles

Album Reviews

DMA’s - For Now

DMA’s – For Now

Sartorially DMA’s looks like they belong in Moss Side and not a Sydney beach. A listen to their debut record will also reveal that their sonic output also reflects the 1990s Manchester music scene. Continuing to idolise this period for their second record, their swagger, defiance and charm is again present in what is a euphoric celebration of dance-rock which mixes stadium-ready guitars with jangling acoustics that allow for Tommy O’Dell’s melodic, yet gritty vocals to shine.

Produced by the band alongside Kim Moyes of The Presets, For Now is more uplifting and emotive that its predecessor, with more radio-friendly hooks and rich melodies present this time around. ‘For Now’ kicks things off with the explosive Madchester influences streaming through it, followed by the energetic, guitar-heavy ‘Dawning.’ In a previous interview, guitarist Johnny Took explained that this first single didn’t reflect the tone of the rest of the album and he is a man of his word, with the subsequent ‘Time & Money’ offering a more mellow atmosphere that wouldn’t be out of place on an early Stone Roses set list.

‘In The Air’, meanwhile, enters ballad territory with majestic production allowing for the composition to morph into a standout pop track. ‘The End’ then comes along and fits neatly into the psychedelic bracket we’ve come accustomed to from Aussie bands in recent years. The track’s cosmic disposition falls far more neatly into the realm of Tame Impala, Jagwar Ma, Pond et al., and may prove to be an indication of where they’re heading for future releases.

This isn’t to say the LP doesn’t have its dancier moments, though, with ‘Warsaw’ and ‘Lazy Love’ both producing the hip shaking capabilities. They then break new ground with new wave number ‘Do I Need You Now?’ before their Ashcroft tendencies are fully realised in the neat production of ‘Break Me’. Nevertheless, despite all of the instrumental ability of Took and Matt Mason, DMA’s secret weapon is the wistful voice of O’Dell. His vocals are particularly noticeable on the minimal ‘Tape Deck Sick’, with its simple guitar and drum backing allowing the singer to shine through. ‘Health’ is similar in its simplicity before the psych-infused ‘Emily Whyte’ ends the album in a spectacular eruption of euphoric guitar solos.

It climaxes what appears to be an organic evolution for a band that have noticeably acquired greater studio knowledge. With it has come an album that still sticks to DMA’s Britpop and Madchester influences but in a more abstract and groove-laden manner.

Paul Hill

Website: dmadmas.com
Facebook: facebook.com/dmasdmas
Twitter: twitter.com/dmasmusic


facebook twitter Soundcloud YouTube instagram

© Brightonsfinest