None of the five tracks on DMA’s debut EP pays direct homage to one artist in particular, but the Sydney trio don’t hide the fact they’re affectionate listeners.
The sheets of distorted guitar in opener Feels Like 37 recall early ‘90s space rock and shoegaze. Meanwhile, Tommy O’Dell’s vocals sit bang in between Madchester and Brit-pop. His voice is more pleasant than Liam Gallagher’s but he borrows from Ian Brown and John Lennon in a very similar manner. Your Low offers a dose of woozy ‘60s pop, featuring Kinks-like chord changes and tasty melodies reminiscent of ‘80s-indie. Play It Out provides some hazy, scenic psych; another avenue DMA’s sound is very comfortable exploring.
Lead single Delete is a heart-on-you-sleeve acoustic number (DMA’s equivalent to Champagne Supernova or Tender, if you will). The production applies an intimate intensity that greatly suits the imploring vocals, even if the lyrics are fairly inert. That is, except for the hookline, “Don’t delete my baby/Don’t defeat her still,” which excellently implicates volatile online relationships and cherished jpegs.
The lyrics generally register as scattered impressions, rather than cohesive tales, but there is some intriguing imagery. For instance, the line “It don’t shine light/When the ceiling hits the floor in front of me,” (in Feels Like 37) paints a picture of sharehouse hell.
The EP’s focal melodic aplomb, homespun production grit and well-measured array of guitar sounds warrant plenty of curiosity. However, that unique quality – the element of risk – is lacking at this stage.
BY AUGUSTUS WELBY
Best Track: Your Low
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In A Word: Anglophile
