A Closer Listen
It’s hard to believe that the first video from this album debuted nine months ago, but that’s how long it takes to prepare a baby. Now this party-rocking, riff-happy album is ready to be unleashed upon the world. And while Nick Cave does not appear on this album as he did the last, he’s not needed; the duo of saxophonist Kirsty Tickle and percussionist Jonathan Boulet has solidified their reputation since then, touring the world and garnering critical acclaim.
Party Dozen is a party act, best demonstrated in their fiery videos. That first shot, Wake in Might, starts off with four beats, an “OO!” spewed into the saxophone and a piano line out of Dolly Parton’s “9 to 5.” The duo demonstrates their energy, especially Tickle, who gets to move around a little more, and we encounter the power of the reverb pedal, which increases their output exponentially. The track ends in feedback and squall. But even this selection is tame next to the raucous outburst of “Money and the Drugs,” which comes with a live video captured at Camp A Low Hum Festival. This is where we get to hear the duo at their loudest and finest, with unintelligible onomatopoeia howled into the brass void. The track and video are both incendiary, channeling the twin powers of metal and punk. We’ve never heard a saxophone sound so much like a guitar or seen a crowd go so wild for a sax.
There’s much more where this came from. Crime in Australia‘s other highlights include the ultra-danceable, new wave-ish “Les Crimes,” which alternates between sudden and subtle, with a snake-charming midsection, and “Bad News Department,” which sounds like a punk rock remake of the original Batman theme, filled with drag racing energy and a summer surf vibe. Just as one thinks the song has reached its peak, the riffs grow larger and fatter. “Jon’s International Marketplace” sends the tempo into outer space at a ridiculous 256 BPM before slowing in the middle, which should give the pogo dancers time to catch their breath prior to the inevitable acceleration.
The album outlier, in more ways than one, is middle single “The Big Man Upstairs.” Not only is this the only track with obvious lyrics, it also possesses a vintage, 4AD shoegaze vibe and boasts a video that tackles weighty themes. Is this a hidden side of Party Dozen, or a new direction? Either way, it offers welcome depth to a duo who has more than partying on their minds. There’s always been a link between punk and protest, and those who wish to understand the album’s title need look no further than this burst of frustration, served up for all to see. (Richard Allen)
Tue Aug 27 00:01:46 GMT 2024