In some ways, Australian quartet
Amyl and The Sniffers are an ideal band to carry forward the torch for a certain brand of guitar-forward rock. Their music is aggressive and super hooky, meeting at the midway point between the energetic, pop-punk kick of the
Ramones and the chugging riff-driven stomp of
AC/DC. To top it off, frontwoman
Amy Taylor exudes the wild abandon of
Iggy Pop and the sneering attitude of
Chrissie Hynde. This potent combination has led to an increasing profile for the band, including a well-received run as an opener for the
Foo Fighters’ stadium shows over the summer. That being said, they are genuinely subversive in a way that may scare off some potential converts. Taylor’s feminism isn’t of the mass appeal variety, as she consistently utilizes her sexuality and power to profanely mock not only the male gaze but gender norms and expectations of any kind. This attitude is the main throughline of the band’s third album,
Cartoon Darkness, which not only brings the visceral jolt you would expect but possesses a healthy dose of playful politics as well.
The first single, “U Should Not Be Doing That” could act as both the thesis of the album as well as an indicator of the new stylistic territory explored over the thirteen tracks. The song is driven by a funky bassline from
Gus Romer rather than a loud riff as Taylor explains that she is “the queen” no matter what haters may say about her musical ability or sexual frankness. Similar messages are conveyed in “Jerkin,” “Tiny Bikini,” and “Me and the Girls,” but the tone of each song is different, ranging from confrontational to endearingly silly. This variety is not only engaging to listen to but also speaks to Taylor’s growing confidence and skill as a singer and lyricist.
For those who appreciated the band’s first two albums for their raucous frenzy, “Pigs” and “It’s Mine” are among their heaviest and fiercest songs yet. Meanwhile, “Bailing on Me” is a surprising, poppy highlight with some hints of acoustic instrumentation and relatable lyrics about heartbreak. The track demonstrates maturity but feels like a natural progression rather than a calculated step to court a particular audience.
Cartoon Darkness has some of the characteristics you might expect from a major label debut from an up-and-coming band (at least in the U.S., they have already charted highly in Australia and the UK), but there is no sense that Taylor and her bandmates have held anything back or toned anything down in order to gain mainstream acceptance. The album will make you want to bang your head and jump up and down, but you will be blushing and questioning your internalized misogyny at the same time.
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