Earlier this year, Mrs JO'B and I saw Brisbane rockers Full Flower Moon Band twice. The first time was the opening night of The Great Escape festival in Brighton - we were a dangerous combination of overexcited and a little inebriated (OK, very...). We were smitten, seeing them at the great Hope & Ruin pub, in a crowded upstairs room. The bar had great sound and a buzzing atmosphere, with the Aussie five piece crowded on the small stage as we pushed our way in, fought our way to the bar and ordered another (possibly unnecessary round). Before every song, their singer, the marvellously monikered Babyshakes Dillon (AKA Kate Herrington), introduces them with a deep vocal effect, just repeating “Full Flower Moon Band” (with the emphasis on Moon - i.e “moooooon”) - they sounded weird but delivered a belting Breeders-esque set.
Their singer plays blistering guitar, wielding it as a prop as well as an instrument, often aiming it like a rifle at the crowd, sweating on this rammed pub’s busy stage. Hips swiveled, groins were thrust, it was a show and a half. On the way home, we declared them brilliant and I ordered their album as we toddled back to our temporary digs. Note: don't buy albums that will be released here direct from Australia as you will pay significantly more in postage. This was not considered due to the side effects of too much lager ...
We saw them again two days later at the Australian Showcase, recommending them to anyone that would listen. However, as they took the stage, we were nervous that without beer, they wouldn’t be quite as amazing. Much to our relief, they were really good. Babyshakes was unfazed by technical problems that delayed their set and played a track solo, which was fabulous. Once the gremlins were scared away, they bolted through another slinky, rocking, tight as fuck set.
That was back in May, and at the end of the summer, Megaflower was delivered at last by our ever faithful postman. The album title aims to give a feeling of expansiveness apparently - this third album is their shot at making something big, important even.
I've avoided playing it online, waiting to get a proper listen when the needle hits the groove. As the vinyl revolves on my turntable, my original Breeders comparison sounds pretty off, but it's great. By the end of side one, I am already very pleased with my inebriated purchase. Baby, the a-side's closer is a cracker - it's a song that would sound amazing sung by the Pretenders. To be fair, it sounds pretty fabulous sung by Babyshakes.
The album is tight, 11 tracks, coming in at just under 38 minutes. Bluesy, slinky, sleazy, greasy, jangly, funny, this is a great rock album. Super Like examines the seedier side of Tinder ("Your papa super likes me“ and "what he can’t get for free, yeah he buys it…”). It's droning lead guitar, laid over a heavy, workman like rock riff is cracking. Man Hands is almost Black Sabbath. Come & Be and Illegal Things all rock at their own determined, compelling pace. The latter has a nice slide guitar riff, as Babyshakes considers who gets into Heaven and once there, how is the access to narcotics - the late, great Bill Hicks would love her.
Devil is initially a gentle strum, then suddenly a heavy bluesy stroll, it's lyrics rapped / mumbled - with more screaming, this would make a cracking Pixies track. Similarly, Alpha is all whispered vocals and even has a Pixies do AC/DC vibe. Closer Kiss Him Goodbye ends the album on a quiet note, a piano-led, subdued ballad, with haunting backing vocals and strings. It's lovely.
This is a great record and a testament to the marvellous Great Escape festival for once again introducing us to another cracking back. Mrs JO'B and I are on the look out for when they get back over to Blighty and we will be front of the queue for tickets. Expect to be dragged along if you know us...
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For fans of: Courtney Barnett, Pixies, Pretenders, AC/DC.
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