Australian duo Party Dozen have released their new album Crime in Australia via their own label Grupo (in Australia, New Zealand) and Temporary Residence (Rest of the World). It follows up their 2022 album The Real Work and is their soundtrack to Australia’s thriving underbelly. Saxophonist Kirsty Tickle and percussionist Jonathan Boulet wrote, recorded, produced and mixed the album in their studio in Marrickville, Sydney. The location was particularly relevant for this album as Boulet explains:
“Marrickville in the 1960s-70s was a notorious crime hot spot. If a car was stolen, or someone was missing, they’d look for them in Marrickville. Since then, the area has been highly gentrified and slowly the once grimy industrial warehouse lined streets are being swapped for monstrous apartment blocks with palm trees.
We began without any theme in mind, just the beginnings of some song ideas. As we were discovering the songs for this album, each song felt more and more at home in an old cop tv series soundtrack. The Crime theme quickly became apparent.The record feels split into two contrasting sides: The first half is ‘order’, being as listenable as Party Dozen has ever been. Each song is law abiding and dignified in its own place. The second half is ‘disorder,’ becoming more unlawful, unhinged, louder and noisier.“
Opener ‘Coup De Gronk’ lays out a measured yet determined beginning to Crime in Australia. Heavy and plodding the stonking saxophone has a gorgeous twist of distortion creating a dancey vibe, while‘Wake In Might’ begins to up the pace. The track is layered with a keyboard striking forth setting the pace before the saxophone joins in, with more freedom of sonic movement. There is a sense here that the beast within Party Dozen is beginning to stir.
The mayhem begins to wind up on‘Money & The Drugs’. This is rock n’ roll Party Dozen style with the addition of wildly distorted vocal sounds, indecipherable and seemingly trapped within the frenzied soundscape.
And then a whole shift with ‘Les Crimes’ with its blast of saxophone notes before a section of calm as peace descends, but naturally not for long. Those blasted notes have a static tinge and their juxtaposition with the calm is intriguing. As the track progresses these blend together, just as life is not simply black and white but various shades of grey. ‘The Big Man Upstairs’ comes as a surprise with its shoegaze vocals and lightness of touch. The rhythm here is more linear, more predictable but the soaring saxophone is an utter joy and it picks up the listener and carries them along.
‘Judge Hammer’ appears to continue the gentler pace, but don’t be fooled. The saxophone and percussion communicate with each other, and the seeming frustration grows as the song travels, increasing in anxiety before taking a moment to breath. ‘Bad News Department’ leans into wilder territory with its initial call and response of the saxophone. More urgent and gripping its a beat laden soundscape which bounces along gloriously, but the saxophone seems to become more of a niggling intruder, in the background at first but then building until finally it is demanding to be heard. A highlight on Crime in Australia.
And then we are presented with the funky‘The Righteous Front’. Party Dozen are nothing if not versatile on this album, with an echoy saxophone providing a hint of soul. The edge is never too far away but this is a slice of glorious retro cool. Following it with ‘Piss On Earth’ emphasizes the tension in the latter track. The pace appears to be withheld, chomping at the bit to be let loose but it never quite happens. The laboured drumbeat is containing the music, even towards the end when it seems that the notes will break free they are pulled back into line.
Party Dozen let it rip on final track ‘Jon’s International Marketplace’. Mayhem ensues, running riot for the first half before some sense of calm appears to come into play. The saxophone is once again toying with the drums, which falls for its games and winds up again. It seems only fitting that Crime in Australia should end with a chaotic, fabulously incoherent, wild soundscape. Unpredictable and sprawling its a fitting end to an album brimming with engrossing and compelling sonic ideas.
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