80%
After first being formed in 2014 as a product of ‘the questionable mind of’ Katoomba’s Matt Downey (Cousin Betty, Death Mattel), the recording project known as LITTER have released their debut album, Vignettes Of Despondency/A Life Alimentaire. Its two names refer to the distinct genres of its two sides, speedy punk and big band jazz, as a modern cultural experiment of sorts.
Explaining the intent of this curious merging, Downey explains, “[having been] heavily influenced by both genres, I wondered if they could merge…could jazz music accommodate the venom and grievances of associated with the politics of punk?”
After its tribally-rhythmic heavy opener, I Did a Thing, (also the name of a short DIY documentary about LITTER and the modern Australian punk scene, which is available on YouTube), Dear Jurisprudence thunders in as a sudden jolt of urgent hardcore punk. The following seven tracks continue in the same musical vein, with Downey roaring his protests, observations and condemnations of life’s injustices and intricacies atop a thick wall of cranked-up guitars and pounding drums.
Furthermore, all of the instruments for its punk songs were remotely recorded across Australia before being painstakingly pieced together and produced by Jason Whalley (Frenzal Rhomb) and Clem Bennett, at The Pet Food Factory in Marrickville.
While keeping solid footing amidst the breakneck speed of his backing musicians, rotating handpicked ensembles featuring members of groups such as Totally Unicorn, iNsuRge and other rock-punk-alt stalwarts, Downey lands many key moments of caustic lyricism.
Fine examples are heard in Ten Hut, which comes barrelling in as track three. “I’m just an empowered minion”, Downey sings, “fodder for the cause…I’ll serve the orders I’m given, never ask what for…Deep as the stars in a tattoo, national pride’s my shtick, I’m just a primate with a stick”.
LITTER’s lead single, Hate Will Own You, follows, cutting in abruptly with hypnotic drums, gritty bass, and lyrics that remind us of the risk of letting bitterness consume our lives. “To the throng fighting wrong on the streets of Hong Kong, be careful, hate can own you”, Downey belts out.
Goodies and Baddies follows as the third-shortest song on the album’s punk side, complete with breakneck thrash parts, an interesting breakdown section and a gang vocal chorus.
While the title of You Get To Be 50 is a self-delivered piss-take at Downey’s age bracket, with lyrics looking back on his younger days as a punk rock hell raiser and activist, the music demonstrates further songwriting tightness with more surprising rhythms and a succinct lyric style. These snappy qualities possibly demonstrate a Descendents influence upon Downey’s songwriting, as he’s since revealed that they’re one of his favourite punk bands.
After the breathless punk adrenaline of these eight lyric-crammed, mosh-worthy songs that barely scratch the three minute mark, the calming acoustic closer of Worth offers the line, “he never lived long enough to deserve her, but he lived long enough”.
Suddenly, we’re into the big band jazz style sounding half of the album, as Downey reveals his surprising crooning chops like a sedate suburban Sinatra, atop reimagined arrangements of LITTER songs composed by Andrew Scott and played by The Pocket Trio.
While they contain exactly the same lyrics, and similar melodies to LITTER’s punchy hooks and catchy riffs, the intent of the lyrics is almost masked by a different delivery that complements the jazz instrumentation, rather than the lyrics being barked at us over punk ensembles. This new setting allows us the space and clarity to properly understand the words however, although LITTER’s raw adrenaline is replaced with elegance and sophistication. Depending on what you’re after, you can wake up to Side A and be soothed by Side B. Although these sides would be more definable through the format of vinyl.
The outcome of Downey’s experiment, to maintain the rage of punk lyrics through the format of jazz, has the ability to gain some traction, but its successfulness is clearly subjective. This depends on what you listen to in the songs, and whether you’re actually thinking about the lyrics, or just enjoying the tunes. Are you a participant in this experiment, or just an observer?
In retrospect, Vignettes Of Despondency/A Life Alimentaire is a quirky, smart and sharp modern oddity, which can excite you or calm you in equal measure.
