After five albums, you can have a signature sound. Indeed, it could be argued that you should have one if you’re any good. DMA’S certainly do.
Their self-titled fifth record bursts out of the blocks with “El Alamein”, which possesses all the energy and uplifting intent that have become hallmarks of the Australian trio. As ever with DMA’S, though, much of the magic lies in the guitar work, and the way the solo erupts gives the opener an extra surge.
“My Baby’s Place” offers floating, gentle harmonies, before “Hurracane” adds summery acoustic textures. It is warm, breezy and seemingly effortless, which is something this band does exceptionally well.
“Killing Time” heads towards a more electronic, club-orientated sound. DMA’S have never been afraid to explore that side of themselves, but “Heatin Park” feels far more natural. Its dense, Jesus And Mary Chain-style guitars envelop the melody, creating something both immediate and enormous.
“Emailz” changes the pace and is surprisingly tender, while “One & Only” returns to the sense of uplift that runs throughout much of the record. Its lyrics possess a lovely innocence, as though the band still believes that music can provide some kind of escape. That feeling continues into “Dancing Luck”, with its simple “all you have is love” message. There is nothing cynical about it, and that matters.
“Concrete” has a jangly 1980s feel, but it is the acoustic songs that are among the finest here. “Windows” is superb, with Tommy O’Dell singing, “I wish you were the one that didn’t get away.” There is always a girl, right? More importantly, there is always an emotional core to DMA’S, no matter how big the choruses become.
“Distance” closes the album with a return to the stomping, anthemic material on which they have built their reputation. You can already imagine it being sung back at them by thousands.
At 11 songs and under 40 minutes, DMA’S is short, sharp and carries no excess fat. As ever with the band, it is classy and supremely well done. They co-produced most of it alongside Lach Bostock, and there is a confidence running through every part of the record.
I always think that if you give an album your own name this far into your career, it is because you want to make a statement. DMA’S does precisely that: this is who they are, this is what they do, and few do it better.
Rating: 8/10
