Posts Tagged ‘Dogs At Bay’

BAD//DREEMS – ” Hiding To Nothing “

Posted: February 13, 2016 in MUSIC
Tags: , , ,
0

‘Hiding To Nothing’ is the new single from Adelaide four piece, BAD//DREEMS. Their highly anticipated debut album Dogs At Bay is out 21st August via Ivy League Records, If Dogs At Bay had been released during the period that Bad//Dreems are emulating, then it would’ve been one of Au-Go-Go’s most prized possessions. As it happens, Dogs At Bay came out in 2015, and introduced a whole new generation of kids to the glory of pub rock. Beer-soaked riffs, a howl that reaches all the way to the loner coughing up their life savings at the pokies, and a wide swathe of material that nodded to folks like GOD, Coloured Balls, The Go-Betweens and The Angels, Bad//Dreems pounded the listener with an affecting album of impressive rock.

BAD//DREEMS – ” Dogs At Bay “

Posted: December 19, 2015 in MUSIC
Tags: , , ,
0

slide Bad Dreems

On their debut album Bad//Dreems have taken the spirit of the Australian underground of decades past and the isolation of living in a small rural town and made it sound very familiar to this city living kid.

Right from its you just know this album is going to be a keeper; packed with tales of love, nostalgia and loneliness making it easy to relate to, but it’s the tongue in cheek, critical looks at Australian culture that make this album stand out. Dogs At Bay is a love letter to everything Australiana. It is also half an hour of shouting and air drumming for sure.

http://

For their debut album, Bad//Dreems, the country’s best (and only?) purveyors of “outsider rock” worked with legendary producer Mark Opitz (The Angels, AC/DC, Cold Chisel), updating the “Oz Rock” template of working-class romanticism for a whole new generation. For the most part it’s thematically kept within arms-length, with vocalist Ben Marwe wearing his heart on the non-existent sleeves of his blue Chesty Bonds. An approach of front-foot assertiveness adapted equally for heartache (“used to love her, now it’s fucked”) and hatred (“you’ll never take me, ya dog”), with his guttural vocals slicing through the slickness of the stadium-ready production. Quintessentially Australian without any shades of cultural cringe.