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Acid City – Self-titled EP Launch

HAPPY YESS, 26 MARCH 2016 |Story By: Steve Habibi Kelk

There is nothing pretty about Acid City’s self-titled EP, which the Humpty Doo grungemeisters launched at the Happy Yess recently. Even the CD cover is far from pretty – that is because their work is not supposed to be. The dystopian artwork on the sleeve is a fair indicator of these boys’ musings about being 20-somethings living beyond the Berrimah Line and their general take on the world.

Acid City (brothers Jess & Jay Hribar, Todd Naumann and Hugh O’Dea) are not pretty boys either.  I am sure they won’t take that as an insult – rather it is meant as a compliment. These are salt-of-the-earth young blokes with day jobs who call ‘em as they see ‘em and really don’t give a flying fuck if you see things differently. This is their world they are singing about and not some MTV-inspired vision of what young adulthood ‘should’ be.  That in itself gives this EP an honesty that most bands would be happy to have just an ounce of.

Their music is rough around the edges. It is best tasted live and in the heat of battle. But don’t let this fool you into thinking they are shit at their craft – quite the contrary. While they might lack some of the finesse of the more mainstream local outfits, they are poignantly honest in everything they do and that is what makes them eminently listenable and watchable – what you see and hear is what you get – no bullshit.

I get the distinct impression that Acid City are a case of “If you don’t like us then go fuck yourself”.  That is one of the main reasons I think they gain respect amongst their fellow local musicians and an ever-increasing following – that honesty, coupled with a work ethic that is both surprising and refreshing. These guys put the time in. I am yet to see any malignant egos develop in Acid City and I don’t expect I ever will. When interviewing them for a promo piece to their EP launch, I found young men devoid of self-importance and posturing and full of the love of their fellow man and a desire that their music should have a positive impact on the isolated, lonely and disenfranchised amongst the Darwin and rural communities. Their work at the annual Rock Ya Tempa suicide prevention gig is testament to their motivations.

The EP is a mixture of old and new songs. Brilliantly produced by Duane Preston, it was a labour of love for all concerned and done on a shoestring budget in true garage band style – mostly in a room in a house (rather than a proper studio) with mattresses on the walls and long days on the drum kit and laying down tracks in Duane’s home. I won’t say that Duane made a silk purse out of a sow’s ear because the musicianship is there and punches you in the throat. But what he did was capture their live performance honesty and raise it to a whole new level.

There is angst in here that even an old fart like myself can identify with. With some songs running at around the 7 minute mark, the lads take the time to express themselves instrumentally as well as vocally – but I wouldn’t call these numbers ballads. They are not stories of epic love, conquest or derring-do – they are an extended scream in the face of every-day life. Todd’s drums are solid without being overbearing, in line with his philosophy that the drums should fit the song without dominating it; Jay’s bass is effective and attack-oriented without being needlessly over-complicated; Jess’ vocals are edgy without being presumptuous (again that honesty) and his rhythm guitar cuts through the mix with purpose. Hugh’s lead guitar is like a chainsaw in a horror movie, cutting through the torso of an evil-doer – shocking but immensely satisfying at the same time.

The stand-out track for me is Smartphone Apocalypse  – “get your face out of your fucking phone” is something that I and no doubt many others have wished to scream at people they see every day.  How 2016 is this song eh? The track is power-chord heavy with some obvious inspiration from Metallica in the structure but maintaining a grunge feel. 

Get behind this band of rural rebels – their act is tightening and they are gaining confidence in their live performances. We hope to see them move onward and upward in the coming years and, given their propensity to put in the work necessary to succeed, we are sure they will make their mark well beyond the NT.

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