Fabulous Diamonds

Aussie duo Fabulous Diamonds had an impeccable string of albums from 2008-2012 and then promptly disappeared off the map for the next seven years. This year they return on UK indie ALTER with a new LP and a bigger vision of their dub-glossed damage. Back when they were slinging discs on Siltbreeze and Nervous Jerk, the band was itching at the same wound that like-minded howlers Blues Control and Peaking Lights found themselves infected with. There was a faded, pre-dawn quality to the music, tumbling down a wormhole of disorientation and delirium and then bounced through the spring reverb within an inch of its life. They’re still not wholly dislodged from that mindset, but Plain Songs feels like someone bottled their sound and terraformed it into a seething organism — bigger, smarter, and more alive than ever.

There’s still the evil slink of tape hiss, but it doesn’t feel like a vehicle of necessity this time. There’s no Tascam noose pulled tight on their sound, rather singer Nisa Venerosa feels like she’s piping her humid vocals through six feet of imported wet topsoil, recording them with an expensive array of contact mics and condensers threaded throughout the room for total coverage. The underbelly of their sound is still haunted by noise, but, again it’s come to some of the logical conclusions of what they were setting up prior. There’s a dingy, collapsed-society, ‘end-stage capitalism devouring the tail’ kind of feeling on this one.

The corrosion here is more of a viral creep than a means to an end. They’ve embodied the spirit of a lounge act poisoned by years of exposure to heavy metals and carcinogens — giving their disease flight through sound, spreading it through the narrow alleyways of an unrepentant reality. They are the cure and the carrier. They’ve finally gone through the lens and into a Lynchian sound that’s as full as they deserve to be and it’s so good to have this pair back, finding the bile that flows through the night wanderers’s souls and giving it a home on two-inch tape.



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