Whiny, maleficent malcontents. Bruising, beautiful brawlers. Out of tune, out of time, dissonant and a glorious sprawl of ugly loose-ends and shimmering dissonance. Anger, isolation, fuck you attitudinal beauty. Drug-fueled inertia. Disgust and disillusionment given vent in a way no male American rock band has managed in two decades now. Jesus, this is so good. Jesus, this makes me feel so homesick – no not for fucking Brisbane but for my core city of Melbourne with all its rain-washed grimy streets and sun-burnt rock formations in the middle of the fucking beyond. Jesus, this makes me want to tackle that fucking right hand turn single-handed. Jesus, this makes me want to drink and brawl and fuck and fight and argue loudly with whoever the fuck comes into the vicinity, and go twirling round numerous beer-soaked dance-floors and laugh at that fucking excuse of a beard on your face. Jesus, but this is glorious even if the dweebs do round off the song about 10 minutes too early, just as it’s getting going and becoming Coloured Balls epic. Fuck death and depression when there is shit like this still happening, still being created out there in the world.
This is Gareth Liddiard and Fiona Kitschin (of the Drones). I don’t want to say this, but what a pair of fucking ledges. What. A. Pair. Of. Fucking. Legends. And yes of course they have released 15-minute battles of wills before now.
Damn it. The Drones’ fourth album – the melancholy, incendiary Havilah – came out a couple of months ago in Australia (it’s out worldwide in January), and the hipsters and the diehards, the drunks and the seafarers have been foaming at the mouth ever since. And rightly so. New single, The Minotaur, contains the insouciant swagger and intricate guitars that have been so sadly lacking of late from Australian rock. Not for singer Gareth Liddiard the self-serving histrionics of a Daniel Johns or the laddish “charms” of a Powderfinger. He sounds possessed, the way all great rock singers sound possessed, as he beats the shit out of a stray vowel. The song is brutal, brilliant. Drums crack like Lewes firework displays, beats stutter to a halt among bruising repetition. You don’t need to understand lyrics to understand emotion.