Ocean Alley, Dan Warner and the Night Parrots, The Bobby Lees: New album reviews

This band’s brand of ’80s pop-rock is the perfect accompaniment to the warmer months ahead PLUS Dan Warner and The Bobby Lees.

Ocean Alley | Picture: Kane Lehanneur/The Sauce

This week’s album reviews from The Courier-Mail (ratings out of five stars):

INDIE POP

Ocean Alley, Low Altitude Living

(Independent) ***1/2

For a band with ’70s influences, Sydney’s Ocean Alley sure sound ’80s pop-rock, with infectious melodies, harmonies and a liberal sprinkling of synth when it helps. Their breezy, summery brand of pop rock is the perfect soundtrack to this time of year. Opener Home seamlessly segues into Double Vision, while Parking Fines is buzzy and Simple Pleasures sports smooth sax. Meanwhile, Changes is a mournful power ballad any hair metal band would be proud of, and Deepest Darkness maintains the harder edge. West Coast is a rare nod to their ’70s influences, with reverb guitar and chunky riffs, and Snake Eyes is easy like Sunday morning.

ROOTS

Dan Warner and the Night Parrots, Maybe, Then...

(Independent) ***

Melbourne songsmith Dan Warner’s fourth “solo” album sees the debut of his backing band the Night Parrots, and it’s a truly collaborative effort with Marcel Borrack (guitar) and Ash Davies (drums). Depending on the mood, Warner’s vocals variously resemble those of Chris Martin, Jackson Browne or fellow Aussie Matt Walters. Opener Every Moon is Blue is a travelogue as Warner wanders the backroads of regret, from Gundagai to the Apostles. Then there’s bittersweet ode Daisy Likes Her Chains and the smoulderingly smooth, jazzy All Souls Day. Highlights include wistful Summer Out of Reach, which conjures images of …, and brooding guitar ballad This Autumn Affair: “It won’t be too long/till you say it’s been fun/and I become Dear John.”

PUNK

The Bobby Lees, Bellevue

(Ipecac/Liberator) ***

Many bands pass for punk nowadays, but Woodstock, NY’s The Bobby Lees are keeping the original spirit alive with a sound straight out of the ’70s. And frontwoman Sam Quartin’s intimidating Wipeout-style fluttering vocals only add to the authenticity. “They say war is at hand/What’s the use of crying if it is the end,” she sings on Strange Days, which begins as a piano dirge and sports a similar rhythm to The Doors’ People Are Strange. They channel The Clash on Hollywood Junkyard and Violent Femmes on Ma Likes to Drink, while Little Table is a jazzy detour, and the set fittingly closes with psych-surf instrumental Mystery Theme Song.