Mod Con

After being charmed and invigorated last week by Mod Con’s “Kidney Auction Blues” its nice to put the song in context alongside the rest of their debut long player for Poison City. Mod Con actually boasts the same lineup of players that grace songwriter Erica Dunn’s previous work as Palm Springs, but they leave their previous shell’s dusty Americana far behind in the rearview. Scratching at a discontented form of post-punk, Dunn and her compatriots use their platform on Modern Convenience to pick at the scars of consumerism, complacency and disillusionment. In the tangles of twine-bound guitar that pump this record along, the band spends their energy wrestling twang into muscular, yet rubbery explosions of tension. Almost every song is hanging on the edge and waiting to tip.

Then there’s Dunn’s voice. Unlike the sonic shock precision of some of her post-punk contemporaries, she seems to be reaching her wit’s end at some point in most every track. She breaks and strains against the mounting pressures she sings about like a hammer on glass. It feels like one more push might just break her, but the heroic act of throttling out one more bone crunching number is worth her pain. The band is taught and at times even tender (“Bad Time At The Hilton”), but whatever the tempo the Dunn’s urgency remains the catalyst that drives Mod Con far past lesser contenders. It’s a crackling debut that puts them forward as key players in not only the Aussie scene, but post-punk at large.




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