Words by Alex Payne
Artwork courtesy of Ian Cheek PR
AustraliaÔÇÖs premier Britpop band, DMAÔÇÖs, are back with a bang for their third full length, The Glow. Threatened by the success of their first two albums, both of which are unabashed homages to mid-90ÔÇÖs Britpop, the three piece have begun to expand their sound, and explore new sonic influences. DonÔÇÖt get it twisted – clear nods to the Gallaghers, Primal Scream and The Stone Roses are littered throughout, but on this release thereÔÇÖs ÔÇ£a bit of everything for everyoneÔÇØ
The most obvious takeaway from their reinvention is the introduction of electronic elements into their sound. The odd track on previous releases may have flirted with them, but their inclusion on The Glow feels both natural and fresh. Floaty synths on Life is a Game of Changing are reminiscent of the Chemical Brothers, and bleed wonderfully into the New Order-esque instrumentation, while lead singer Tommy O’Dell swaps reverb for a faint vocoder effect on Cobracaine, and various electronic elements bubble under the instrumentation. Ultimately both tracks have benefited from just a slight modernisation, and itÔÇÖs precisely for the opposite reason that Criminals appears to be the dud of the project. Where electronic elements were included with subtlety on the aforementioned tracks, the bright chords that are wedged after the first hook feel intrusive and alien, forcing mainstream appeal into an otherwise understated track. Overall, itÔÇÖs clear that DMAÔÇÖs remain diligently obsequious to their musical predecessors, and they appear to have shunned real innovation for inspiration once again; this time, however, theyÔÇÖve just reached a little further afield than Britpop. It may fail to be score on originality, but for the most part, itÔÇÖs a brilliant addition to their otherwise comfortable sound.
The trio also dabble with ballads on this release, notably Learning Alive and Appointment. The repetition on the latter comes across a tad anodyne, but the former manages to be a genuinely touching call for self-love; a message thatÔÇÖs bound to resonate given the bleak context that surrounds the release of this record. For the most part though, DMAÔÇÖs seem to have continued to trade substance for accessibility in their lyrics, and as a result, most tracks will be easy to bellow along to in a sun scorched field – even after a couple of Dark Fruits. Similarly, in our interview with OÔÇÖDell earlier this year, the lead singer was quick to stress that despite the new, shiny additions, the core of DMAÔÇÖs sound was still obvious. True enough, as tracks like Silver, Hello Girlfriend and the titular track, still sound like the nonchalant blend of British pop-rock and Australian garage-rock weÔÇÖve come to love from DMAÔÇÖs.
Finally, itÔÇÖs clear that The Glow is a masterclass in production and mixing, with Stuart Price, producer and the unofficial fourth DMA on this project, having done a brilliant job of balancing modern and nostalgic sounds throughout. Particularly noticeable on tracks like Never Before and Cobracaine, Price has managed to give plenty of space to Tommy OÔÇÖDellÔÇÖs reverb soaked vocals amongst the instrumentation, which goes a long way to establishing the projectÔÇÖs wistful and infectious anthemic tone. Having been so defined by their Britpop influence, itÔÇÖs refreshing to see DMAÔÇÖs incorporate some new elements to their sound, without sacrificing their consistency. It wonÔÇÖt win any prizes for originality, but The Glow is a solid third release thatÔÇÖs practically begging to be this summerÔÇÖs soundtrack.
The Glow is out now
Read our interview with DMA’s here