Regularly featured since their introduction in 2014 after line-up changes and the addition of a fifth player – Jesus Let Me Fly, from the forthcoming release, is a more expansive sound than previous material.
The shoegazey guitars echo like spinning crystals refracting sunlight through the room as the stretched notes are weighted by blocky concrete bass and percussion giving Jesus Let Me Fly a clear sense of direction from which the gauzy vocal drifts dreamily through the ears.
With a refocus and slightly different sound, which adds a lighter glaze to the music, The Owls have nonetheless not moved too far away from their anchor of punchy rock as the just over two minutes of Feels Like Gold attests.
The Australian alt-rock band The Owls are planning to release their début LP early in 2016.
The first track to appear from the album, is You’re Alright, which showcases the garage fuzz roots of The Owls, whilst adding their rock signature.
Having spent much of 2014 on the road, The Owls decided to focus this year on honing their craft with the idea of putting together an LP and You’re Alright is an indicator of the steps made over the past few months.
From Newcastle in Australia surface – Joshua Bailey, Matthew McDonough, Lewis Gillespie and Joseph Bourke who form the alt-rock band The Owls.
The Owls have taken much of the fuzz out of the sounds of garage rock, yet keep it all sharp and gnarly, perhaps best depicted as garage rock for the house with the broken gated driveway. There are torn shreds of cloth which still underlay the sounds, yet they have been able to smarten it all up a bit without loosing the essence of the derivatives.
By taking out much of the subsumed and implied in garage rock The Owls are able to deliver music with a zesty punch, which can take and needs the volume turned higher to gain maximum value. Having spent considerably time on tour with well established bands, the quartet have been able to learn much and their compositions have gained much from the experience with a growing confidence in extracting the juice from the compositions which ends up with the listener feeling more satiated and as importantly not forgotten about, as the songs still connect directly with the audience.
I get the sense that The Owls have reached a turning point in their musical career and the May release, the six track Own The Streets marks an opportunity, to be seized, for rapid upward spiral in their wider exposure both nationally and internationally.