Matty Effin Morison and Their ‘Songs’.
Matty Effin Morison – New South Wales, Australia.
Sometimes you need an album that really doesn’t waste any time, an album that simply is what it is. Now, Punk-Rock is relatively consistent and providing such a cathartic release and with the debut album from Matty Effin Morrison, simply entitled Songs, you are presented with exactly what is in front of you.
Taking clear influence from Skate Punk and particularly the 90’s and early 2000’s golden age, with ‘Ahh’ you are immediately reminded of something sat somewhere between NOFX and Bad Religion.
‘The Womble Doesn’t Help… But It Does!’ carries the fast and melodic Australian sound but also hints towards the older material from Canadian 90’s/2000’s staples GOB, before then hinting at a far heavier sound via classic but teasing Punk breakdowns.
You can’t help but here Perth’s The Decline in the band’s sound, with ‘#punchin’ showing a far more upbeat and melodic 90’s Pop-Punk infused sound while the harder edge of ‘I’m Alright’ cuts deeper both lyrically and stylistically speaking.
By this point on the release the raw nature of Matty Effin Morrison begins to assist in the nurturing of an opinion. Vocally speaking there is no notable pitch or range, rather just a raw and simple sound that is the product of a voice box behind a microphone, contrasting well with the coherence provided by the soundtrack. Vocally the band notably capture the rawness and simplicity that the ironically melodic Punk of that era captured and owned.
‘I Wanna Sell Out’ is tongue and cheek in its lyricisms and will make many-a-Punk smile but within the albums continuity, is musically speaking nothing overt. ‘Fall Apart 2’ brings it back so to speak with an ode to the darker side of Millencolin but with Matty Effin Morrison’s own quirks and again, hints and a more progressive heavier sound.
‘EHB’ is the stupid Punk song of the release, short, fast, heavy and standing at 0:35. ‘N Word’ displays the band’s wit with the Aussie accented, snotty-nasal vocals sat somewhere between 77′ Punk and their 90’s Pop-Punk equivalent. The point is heard, noted down and accepted.
Quirky would be a painfully unprofessional term to use to describe this band. In many ways they remind you (well, me) of NYC’s Morning Glory and not just because of the keyboard in use. Morning Glory are albeit more diverse and progressive but the same bare honesty and comfortable stance exists and that’s, that’s Punk.
Quite coincidentally in regard to the “flow” of this review, ‘Ya Dickhead Mate’ carries the aforementioned quirks and keys before the heavier teases of earlier are released in the standout ‘Revolution Days’.
‘Prima Effin Donna’ continues this heavier inclination on the final part of an album that has quite easily shifted its formula into a more mature direction musically as well as in the context of its content but not in its snotty bratty Punk distaste. It’s a compliment, honest.
Showcasing a fourteen-track album as your grand entrance can be risky in Punk-Rock. The genre’s tendency to similarity can sometimes result in the listener loving the release but still trailing off somewhere else towards the end.
The final three of this debut though do not leave you with this adoration but slight lack of concentration however, as Matty Effin Morison have staggered their sound on an overall well organised release that shows enough variety and provides enough interest for you to wonder what these seriously unserious but a little bit serious Punks will do next.
Find the band below:
#StayFresh
