No, Sidney Nolan didn’t come back from the dead. What you’re seeing right there is the artwork for the debut album from Sam ‘I’m In Every Band’ Wilkinson. Besides ‘kickin’ it’ in local stalwarts like Day Ravies, King Tears Mortuary, and Mope City, amongst a bunch of others, you can pretty much catch Sam and his blonde mop at any decent show worth going to. Oh yeah, and he sometimes helps out with his mates The Ocean Party and Summer Flake as well, in case the resume wasn’t disembowelling enough already.
Shrapnel is his latest baby, slowly but steadily making its own name amongst the keener eared of Aussie legends. After previous singles ‘Print & Sign’ and ‘Tobacco Dreams’, he has unleashed upon the world an album that can only be described as jangle-pop rattling in a tin can. The sound is undoubtedly swathed in the aesthetic of bedroom bands, titillating between drum-machine, synth freak outs and sincere, tunnelling ballads.
It’s the fact that Shrapnel switches so easily between the two that’s really interesting. In one moment, you’re grooving down the highway of good vibes with ‘Direct Debt’, a broken kid’s keyboard accompanying a hurtling guitar, and a pop embrace that shuns boredom at the door. This is a fun-times only party, sorry Boredom, you can’t come in. No, you can’t see Julia, she doesn’t want to see you. You really fucked it up this time Boredom. Anyway, she’s making out with Shrapnel in the corner. She’s moved on, Boredom, you should to. *’Direct Debt’ plays in the background, as Boredom sullenly walks away*
But with the space of a single song, the project has moved onto far more introspective territory. For example, ‘Baby Picks Up’ shows a fair hand at trickling guitar work, which in turn creates a super intimate space for the song to bathe in. The little melodies the song does contain manage to cocoon the shit out of the listener. It’s like a micro version of Black Moth Super Rainbow being projected into our skulls at a much more pleasant-to-swallow rate.
And best yet, when these two worlds collide (Powerman 5000 anyone?) with each other, the energetic pop that seems to ooze way too easily from Shrapnel’s veins, and the sullen, introspection that give the band so much character and depth, the results are infectious beds of music that won’t be heading away for long. ‘Tobacco Dream’, ‘Print & Sign’ and ‘Sinker/Stinker’ are the key tracks from this department, and they could really suit any occasion. 3am train ride home after another night of loneliness? Check. Best mate’s in town, and needs a good song to settle into the couch with? No worries. Ran out of VB’s? Mate, you’re fucked, audio entertainment can’t save you.
In Shrapnel, Sydney now has its own Blank Realm-weird pop music from the otherworldly nether regions known as the Western Suburbs. Tobacco Dreams is eclectic, instantly likeable, and norm-centrically gorgeous. It’s music that works on a personal and social level, that can be enjoyed regardless of atmosphere.