|"Why does everybody keep requesting 'Sabotage'?"|
This, of course, is because once you actually take a listen to see what all the fuss is about, you quickly realize that there's very little substance to hang your hat on. So when said band is but a faint memory six months later - even to those who were so loudly singing their praises - it comes as little surprise.
Just once, you think to yourself, it'd be nice if one of these supposed buzz bands had a little meat on their bones, so to speak. Would it kill even one of them to know their way around a good song and perhaps even know how to sing it?
That's what made the arrival of the DMA's such a refreshing deviation from the recent fad of mix-matched genre mashing ("Hey have you heard this new Icelandic folk metal band that sings in Portugese?"). On first glance, they may look like Australia's long-overdue answer to the Beastie Boys, but when they open their mouths, wouldn't you know it, actual pop songs come out!
And damn fine ones at that.
It's easy to see how the band's flair for 90's inspired guitar pop has connected with an increasingly global audience in such a short amount of time, as much of the UK and Europe are completely immersed in Britpop nostalgia with no Oasis around to capitalize on it.
The best part of it all is that the band can also pull it off live, which is the Achilles heel for 9 out of 10 buzz bands.
The band's debut full-length, Hill's End, was issued on Feb 26 and the updated production is most evident on their re-worked version of their debut single "Delete". Fret not, having a bigger budget to work with hasn't ruined the band yet, as the album is still a reverb-drenched ode to early Oasis/Stone Roses, back before each band got too high on their own fumes, for better and worse.