Review Summary: A growing ease
Despite their self-titled debut having been, for the most part, successful – that is, a moderate success to my ears, and an explosive one for the band and to several major publications alike – Georgia Maq’s transition from solo artist to frontwoman of trio Camp Cope nonetheless concerned me for a number of reasons. Prior to having heard
Camp Cope, it was a selfish and somewhat naïve discontentment in perhaps never hearing a full-length release from an artist I had prematurely considered one of my favourites. After the fact, it was that in spite of Camp Cope adopting a comparatively heavier sound, the band – even with the contributions of the talented Kelly-Dawn Hellmrich and Sarah Thompson - failed to match the charm and wit of Gergia's
With a Q EP, or even the sheer energy of her other solo material. Whether it was the influence of Philadelphian rockers Cayetana (with whom Camp Cope had toured the year prior), or simply the result of growing pains since past, the band’s split with Cayetana nonetheless quells all previous concern, with an EP more dynamic than the band's past efforts.
Listening to the two bands, it’s wholly unsurprising that this collaboration exists: both adopt a similar brand of alternative rock, punk aesthetic and all, with a classic setup of electric bass, drums and guitars. Yet the approach taken on
Split is entirely refreshing. Of course, like many other modern split releases, each band handles two of the project’s respective songs. But where Camp Cope and Cayetana shine most is in their ability to blend introspective ramblings with anthemic declarations. Sandwiched between the split’s two more sobering tracks, "Mesa" and "Footscray Station" are confident affairs, each referencing a town in Augusta Koch and Georgia Maq’s respective sides of this Earth. That both manage to capture such similarly youthful and exuberant feelings of an anxiety-fueled desire to change the world, (the latter of these tracks is dated by its anachronistic though nonetheless relevant reference to Australian Minister of Social Services, Scott Morrison), speaks volumes of the universality of Georgia and Augusta’s experiences. In that,
Split is as comforting as it is galvanizing. Opener "Keep Growing" does so well what
Camp Cope did, as Hellmrich’s bouncier bass lines help make Georgia Maq’s more somber moments almost danceable, and Thompson’s drumming breathes life into a despondent, almost discouraged plateau of feeling; the song seems also to breathe life into the split’s uplifting midsection, before the arrival of Cayetana’s closer, Trails. Much like Keep Growing, "Trails"’ booming drums and swelling guitars create a fitting backdrop to a very emotional vocal delivery, but here Cayetana prove to be the more mature of the two bands, both musically and lyrically. Augusta’s repeated vocal phrase, “If she forgives you, I forgive you / If she forgives you, I forget,” contrasted with what sound like extremely subtle synth passages, are captivating to say the least, and perhaps prove that my desire for explosiveness in Camp Cope’s music is at least somewhat misguided.
Comparisons between the two bands Cayetana and Camp Cope don’t stop at their respective sounds: in a way, the former – with at least a couple more releases' experience – represent a matured Camp Cope. Sure, "Mesa" and "Footscray Station" (the latter of which shows up on the aforementioned
With a Q), reveal how both groups are able to seamlessly showcase their individual approaches to passionate, energetic indie rock songs, but it’s the bands’ impressive ability to contrast these with the split’s more pensive-sounding bookends. With this, not only do Cayetana and Camp Cope solidify their songwriting talents, but indicate a penchant for growth and maturity. And so anticipation prevails.
