Amyl and The Sniffers wear their hearts on their sleeves here and Amy Taylor, in particular, exposes her vulnerability in a way we haven’t seen before whilst maintaining that piss-and-vinegar punk spirit that is integral to the band we know and love.
The masters of Aussie mullet-punk are back. Amyl and the Sniffers have been cultivating a hardcore following over the years and with two records under their belt, they’ve established themselves as punky stalwarts whilst growing into muscular rock monoliths. Album three, Cartoon Darkness, is Amyl at their snarling best, with layers of maturity and social commentary embedded in the DNA of this record.
For a band who came out of the blocks with a raucous in-your-face punk record, Cartoon Darkness is Amyl at their fiercest: they aren’t quite as brazenly “punk” here, but the way they subvert cultural norms, embrace sexual liberation and tear shreds off of consumer culture is punk in spirit.
From the outset, the four-piece establish exactly what we can expect from this record: ‘Jerkin’ opens with a wall of feedback before we dive headlong into a stoner, desert-style driving rock piece (think prime, Rated R, Queens of the Stone Age). “You’re a dumb cunt, You’re an asshole, Everytime you talk you mumble, grumble, Need to wipe your mouth after you speak cuz it’s an asshole”. It is absolutely vintage Amy Taylor and Amyl by extension: not a hint of subtlety, just immediately in your face. It sets the tone for Cartoon Darkness fantastically.
Single ‘Chewing Gum’ follows suit, and ‘Tiny Bikini’ is Taylor & co breaking free of the shackles of body image and oppressive societal conventions around women’s bodies and clothing. Recent single ‘Big Dreams’ is Amyl in a more reflective mood, with softer guitars and introspective lyrics about overcoming the limitations of small-town life to make it big, a look that Amyl and The Sniffers wear well, and Taylor’s usual barked delivery makes way for more dulcet tones.
Before you think they’ve gone all soft on us, Amyl remind the listener exactly what they do best. ‘It’s Mine’ is a gargantuan punk number, built on fuzzy, hardcore-style bass, filled with crashing drums and intermittent face-melter guitar parts. It’s barely a minute and a half long but feels like a bucket of ice water to the face after its dreamy predecessor, Amyl are seriously showcasing their range and the musicality of the group is on show throughout, never more so than in moments of sonic whiplash like this one.
“Are you sure that you’re living free?” is the refrain on ‘Motorbike Song’ which again compiles thunderous drums and bass with more face-melting guitar work. The cut is fraught and tense, building to a climax – it’s nothing short of cinematic. The drama persists on ‘Doing In Me Head’ which is a gothic style ACDC tune, with huge electrifying moments that could come from a peak Metallica record.
‘Pigs’ is a high point, with Taylor embracing and owning sex and sexuality over some of the band’s best musical work to date. There is an absolute ripper of a guitar solo, which is the cherry on the cake of one of Amyl’s best-ever tunes. Cartoon Darkness plays out in a similar style: the band weave musical uppers and downers together with a deft touch – the pacing on this record is fantastic and there is no hint of boredom or repetition here.
Lead single ‘U Should Not Be Doing That’ is another stellar number, which grooves and snakes in a profoundly sexy way while Taylor muses on taking ownership of herself despite misogynist doubters The tune is something of a sister piece to ‘Jerkin’, the opener. It’s aptly followed by ‘Do It Do It’, a mosh pit inspirer and yet more of Amyl doing exactly what they do best.
Closing the album in style: ‘Me and the Girls’ is a little more experimental for Amyl, with Daft Punk-style backing vocals and brilliantly Australian distorted wobble board. This record is surely Amyl and the Sniffers’ most anticipated release to date, and they do not disappoint: it’s brash and angry at times whilst sensitive and soul-searching in others. Amyl wear their hearts on their sleeves here, and Taylor especially exposes her vulnerability in a way we haven’t seen before, but they maintain that piss-and-vinegar punk spirit that is integral to the band we know and love. It’s an inherently feminist piece of art, and Amyl’s ventures into cultural critique suit the band well.
featured image: John Angus Stewart
