The Weekend Australian - Review - - Music Reviews - Emily Ritchie

Paint Holy Holy Sony As its ti­tle sug­gests, the sec­ond al­bum from Aus­tralian indie rock­ers Holy Holy is a tex­tured, colour­ful and vi­brant piece of art, wo­ven to­gether with breathy melodies and ex­pan­sive synths. Paint’s dar­ing na­ture is re­flected in the chaotic aes­thetic of its cover de­sign, cre­ated by New­cas­tle artist James Drinkwa­ter. The re­lease is an am­bi­tious and co­he­sive re­sponse to their crit­i­cally ac­claimed 2015 de­but, When the Storms Would Come. Where that al­bum took a mea­sured, psy­che­delic ap­proach to rock and coun­try, this re­lease fo­cuses on a wider sound­scape and a height­ened at­mo­spheric in­ten­sity. Found­ing mem­bers Ti­mothy Car­roll (Bris­bane) and Os­car Daw­son (Mel­bourne) have en­sured win­ning el­e­ments re­main a cen­tral part of the equa­tion. Car­roll’s pure, sooth­ing voice floats above Daw­son’s whirring, fluid gui­tar lines and be­low boils a strong foun­da­tion of stri­dent per­cus­sion. True Lovers and Send My Re­gards em­brace the strik­ing synth vibes of the 1980s, whereas tracks such as El­e­va­tor, De­cem­ber and Dar­win­ism take in­flu­ence from other con­tem­po­rary Aus­tralian bands, in­clud­ing Ball Park Mu­sic, Boy & Bear and the Pa­per Kites. That Mes­sage is a strong start, com­plete with a funky rhyth­mic at­mos­phere, which is fol­lowed swiftly by Wil­low Tree, rem­i­nis­cent of the Arc­tic Mon­keys with its catchy gui­tar hook and a cap­pella in­ter­lude.

Though its en­ergy ebbs and flows in a hyp­notic wave, Paint re­mains con­stant in its in­tel­li­gent con­struc­tion and emo­tional res­o­nance. It’s a de­light­ful lis­ten and an ex­cit­ing new chap­ter in the ca­reer of this im­pres­sive Aussie band.

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