Floodlights

The jangled goodness that rolls out of Australia never flags and Melbourne’s Floodlights have taken up the emotionally scarred mantle from many of their peers – echoing The Bats, The Chills, Goon Sax, and more specifically feeling like a less cheeky version of Scott and Charlene’s Wedding. Like the latter there’s a conversational, working stiff quality to the band’s debut. The songs act as pub rally points, but underneath the hooks, there’s a searching unsureness that’s looking to find where the band members fit into a world that seems daunting by any measurable standards. The discomfort bubbles through From A View giving the songs an itch even when their melodies sway towards earworms. On “Don’t Pick That Scratch,” and “Glory of Control” the band lays out a world that’s unforgiving, mired in wounds that won’t ever heal fully until they’re attended to properly. “Scratch’s” premise is perhaps a sentiment that engulfs 2020 more than any other, as each day pulls back a layer of systemic dysfunction and piles on a few more layers of dystopian atrocity.

While the lyrical content might get take the focus, the band’s not letting the underlying aesthetics fall by the wayside. While the references above might start to give you a picture of where the band is coming from they don’t stick to jangle-pop as a rote means. Goon Sax and Scott and Charlene act as good modern equivalents because like Floodlights they’re injecting a certain element of tension and Floodlights have that in tow. The more I listen this actually begins to cross this over into Billy Bragg territory. Though perhaps not as outright political in nature, there’s a bit of a Brewing Up feeling to Floodlights’ debut that can’t be completely shaken once its felt. After a soft lead in on their Backyard EP this debut establishes the band as ones to keep a watchful eye on in the coming years. It’s a grower that takes more than a few listens to latch, but I’d recommend putting in the work to let this get under your skin.



Support the artist. Buy it HERE (out in Australia now, US August 28th).

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