Australian post-punkers Gold Class have gone deeply personal for their new record Drum. Whist their second release still showcases their dark, strident, riff-heavy sounds, the four-piece are this time exploring conversations surrounding queer history and the ideas of silence, evasion and transgression within this. ‘A sort of love letter to anyone who has ever been discriminated against or made to feel less than they’re worth because of simply who they are’, the LP emphasises with the isolation that comes with a break-up, but it also explores the depths and turmoil that come with being part of the LGBT community.

Singer/lyricist Adam Curley explained in more detail, “The week we started to write Drum, my relationship ended and I was left alone in a draughty old house, which belonged to a friend of a friend. In the house, I sat around with my notebook, the quiet hours cut with news from friends and the TV: the suicides of musicians and writers I’d known and queer kids I hadn’t; the systematic abuse of vulnerable people, the constant mockery of anyone on the outs.”

Formed in 2014 out of a Melbourne bar and creative-writing course, a few explosive live shows culminated in their debut album It’s You – a release which still carried themes of personal politics, sexuality and identity and was shortlisted for the Australian Music Prize. However, Drum is a lot bolder and more accomplished, with the four members now truly comfortable as a collective. Recorded at Melbourne’s Head Gap studios, it was co-produced by Gareth Liddiard of The Drones.   

Leading track and single ‘Twist In the Dark’ is a tight, unforgiving trip through post-punk that even steers towards krautrock at times, whilst ‘Rose Blind’s propulsive minimal bassline keeps things ticking over. ‘Get Yours’ initially has a similar structure before reverb guitars drench the soundscape as the guitar riff tussles for possession with the vocals during the chorus. Proceedings are then taken down a notch for ‘Trouble Fun’ before ‘Bully’ brings an Echo and the Bunnymen vibe.

‘Thinking of Strangers’ also has an 80s post-punk disposition to it with the obvious reference points of The Smiths and Joy Division. However, it also bares similarities to modern bands such as Savages and Scarlet Rascal, as the song builds up around a guitar riff that moulds the core elements together. ‘We Were Never Too Much’ is slightly more jovial on an instrumental level, with the Curley vocal delivery giving it a melancholic edge. Meanwhile, the bassline in ‘Mercurian’ could easily have been taken from Unknown Pleasures in what is a sinister intro.

An assuming strumming pattern then initiates ‘Lux’ before the track builds up into what is a frantic finish to a terrific post-punk album. Drum presents a sound that, while not a total reinvention of the genre, offers something new and fresh. The steady drum beats, shimmering guitars and slow marching rhythms have all combined brilliantly in the ten tracks.

Paul Hill

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