DMA’s are a Garage pop band from Sydney, Australia. Their Brit pop/rock influences are incredibly obvious from their previously released single Delete. After their debut EP, there has been high anticipation, waiting to see what the Aussie trio will present to us next; this happens to be their first LP, Hills End.
The initial track, Timeless seems to hit us straight in the face a few seconds in, with a heavy bass-line and quite simple but appropriate blaring guitar. The beginning is maybe the weakest part of this track, the first verse seemed like it had to drag you through to get to the other side, it’s flow was a bit rough here, but this is made up for with the extremely catchy chorus, and it seems that the vocals are quite comfortably in place in comparison to the latter verse. The whaling lead guitar and drums co-ordinate brilliantly and really tie the track together quite well, half way through this tune you begin to realise how catchy it truly is, the chorus almost impossible not to sing along to.
This brings us to one of my personal favourites on the album, Lay Down. It begins with the punchy drums that lay the foundation to the song, this really gives the “Summer anthem” feel. The drums then tame when the vocals emerge, creating contrast and a calmer Madchester sound. The overall melody is great in comparison to the previous track. The bass line is quite simple, but pleasant on the ears; carrying the song along and cooperates with the rest very nicely. Their Madchester/Brit rock influences are quite clear- mainly in the vocals. The band in total remind me of a much more musically organised and overall better Oasis (despite Noel Gallagher’s unsurprising dislike towards them). This track overall doesn’t have any huge negative points, a great listen every time I’ve come around to it. Everything in this tune seems to go along fairly well, the vocals, drums, bass, guitar seem to all belong in place; they make it work for them, so no loss here.
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And now for what is regarded the biggest track on the album, Delete. As an acoustic track it sounds very delicate and from the beginning you know it’ll be good, and it is clear that this will be regarded as one of the highest points of the album. It, as a whole, seems very simple, but still flows very well. As we progress to the chorus, the ingress of string accompaniment is a gracious addition to the vocals. The instrumentation is all around untarnished. This track is unsurprisingly well received as a single, and I very much enjoyed it, the progression in its entirety seemed seamless and everything was in its right place, an overall great tune.
As a whole, the track that sticks out to me mostly is Blown Away. The introduction begins with almost ambient percussion, leading us through the piece by hand; the process is almost seamless. The vocals are quite laid back, and lyrics are possibly the best on the entire album. Though not a lot happens in this piece in particular, for what the DMA’s have shown in this track, it’s their best sound in my opinion, and should most definitely stick to this style. The progression is fantastic and the addition of drums really gives this track a lax feel, everything seems to be in its right place as far as instrumentation; the mellow lead guitar and chorus driven rhythm guitar. There honestly isn’t much wrong with this track at all- I could listen to this over and over.
I looked at this record for what it was, a garage/Brit pop/Brit rock album; and as far as this goes, it done exactly what is to be expected. DMA’s influences are very obvious in this LP in particular- I’m looking forward to any future releases, and to see how their sound will develop as their discography grows, DMA’s have already made a name for themselves with this album, and it’s a bloody good one at that.