Third time ‘round the track and Terry show no signs of flagging their penchant for bending twang rifled post-punk into an album of essentials. Fulla strums, that don’t blow too breezy and guitar tones that squeeze uneasy, the band pairs their whip-smart pop with a bleak wink at Aussie life and the drudgery that’s unavoidable. Like many these days they’ve got the income gap and the party politic in mind and its not looking good for any of us. Terry at least know that a stomach sick riff and some creeping ambiance can distract from the anemic self-worth of the powers that be.

With each new album, the band seems to dig further into their own warped groove. Al Montfort and Amy Hill have a drinker’s rapport and their vocal swaps and lyrical gang-ups give the record the same loose-knit feel that have long endeared Terry to listeners. That open accessibility pairs well with their brand of itchy hooks, and its not long before the band gets under your skin in the best of ways. They offset their charms with lyrical bites, and half-hug invitations are met with caustic jabs at this mess we’ve collectively found ourselves in. While Terry might not have the answers, they’re down to commiserate and “roast the rich.”

As with quite a few other of their countrymen, Terry’s play on post-punk’ isn’t overstuffed. The band’s economical use of space makes every nuance count. When they deploy the saw of violin or the gentle jingle of bells, its damn well with purpose. In turn, when they flip the pace from laconic to frazzled, every inch of fuzz rattles the listeners down to the ribosomes. I’m Terry is short, but packs a punch and three for three, I’d wager there’s not a Terry release you should do without.

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