Review Summary: Goodness me. The same guy that wrote Israel's Son and Pure Massacre pulls this solid pop effort from nowhere.
Like a blooming rose thriving amongst a bed of weeds, or a magnificent evergreen standing defiantly atop a barren hilltop – eccentricity comes in many strange and wonderful forms, yet these natural oddities are barely a match for renowned songwriter Daniel Johns of Silverchair fame. From the depths of teen angst to the wonderful world of musical escapism – Johns has dramatically transformed himself from a grunge-enthused anorexic to a pop-rock aficionado within the space of eight or so years.
This brave side-project with distinguished Australian DJ Paul Mac finally parades the lighter side Johns had only been occasionally flirting with since Silverchair’s hard-edged debut in 1996,
Frogstomp. After Mac remixed successful Silverchair single
Freak, a relationship grew between the two that would see the creation of an EP, and eventually give birth to this self-titled LP, which consists of light pop-numbers with unconventional melodies and melancholic undertones for an added dark edge.
Opener
We’re Much Preferred Customers is a typical techno thumper, but with Johns’ strange lyrics and vocals added over the top, it turns into something of a tech-rock merger. In fact, it’s hard to describe exactly how well this blend works at times, with Mac and Johns perfectly complimenting each other’s respective styles. It’s brave to say, but there’s definitely material here that will please all fans of both artists more traditional roots.
Paul Mac’s dance producing experience becomes clear in instrumental
Paris Circa 2007 Slash 08, while the down-right peculiar
Lifting the Veil from the Braille sounds like it was lifted straight from the
Super Mario Brothers soundtrack, with Johns’ odd vocal additions proving a far cry from the older Silverchair many know and love. Gorgeous track
Forever and A Day shows off Mac’s skill on the piano, which also returns for the stylistic closer
Sleep Well Tonight, which is perhaps too quiet and unassuming for it’s own good, but lightly enjoyable all the same.
Johns’ influences scream just as loud as his musical partner, with manic epic
Aaängry Megaphone Man providing the most exciting moment of the record. The dark verses lead up to a wonderful chorus, which gives way to a sterling outro that carelessly glides along in a flurry of whimsy and exhilaration. Hectic
Thinking in Reverse sounds like traditional pop on steroids, it’s strength actually hitting full force after the second chorus, when the crashing symbols kick in and the song suddenly takes up more space in your speakers than it was before.
These pop numbers keep coming though, with first single
Somewhere Down the Barrel cementing Johns’ credentials as a grossly talented pop-writer. Second single
Young Man, Old Man (You Ain't Better Than the Rest) chugs along with self-confidence and a lyrical theme of youth degradation that Johns so devilishly enjoys, while underrated
Horror With Eyeballs takes the award for best song on the record, with a melody that is simply too good to be true. The lyrics show-off Johns’ well-known love of all things unconventional –
“Behind this gold picket fence lies a whole institute
Where wallpaper painters scrape and scarecrows swell waterlogged
Now I got dead time on my hands
For feeding my animals
On this dark kissed day the light shines through only you
Or is it because your silhouette is your frame like an empty window
Now I got cold time up my sleeve, I'm feeling destitute
All of this time on my hands
So far has gone to feeding my animals…”
A major gripe with the record unfortunately, is its rather short track-list. While the material is strong and quite diverse, the listener is felt a little short-changed after the completion. It’s hard to say exactly what’s missing, but the experience is a little shallow and would’ve benefited from a few more wonderful epic numbers. Johns’ lyrics may also grate some, but most should invite his fanciful style and approach the record with harmless fun in mind.
And that’s exactly what this promising debut embodies; harmless fun. Mac and Johns welcome us into their colourful world of musical fantasy and the trip is certainly one of unusual amusement. It may not please all Silverchair fans, but taken on its own merit, and
The Dissociatives will prove an entertaining and highly enjoyable release from two great Australian artists.
