Grinspoon - Alibis &Other Lies

Thu 16th Aug, 2007 in Music Reviews

Some cynics have suggested that Phil Jamieson’s drug problems had been hammed up and that his appearance on Denton a few short weeks back was strategically timed to coincide and give cheap publicity to the release of Grinspoon’s fifth album, Alibis & Other Lies. The stupid part is that cheap publicity is surely unnecessary for such a strong release from an already well respected and successful home-grown band.

Over the thirteen or so years of their existence they have continued to push themselves to create a sound that remains distinctively theirs, but challenges any stereotypes of what they should sound like. In the works for over fifteen months, Alibis… is an album that obviously proved difficult for the band, but their persistence has really paid off.

If you are making judgements about this release based on the last couple records, it might seem the days of flat out punchy, hard rock are long gone for the Grinners boys, but don’t be mistaken. Aside from the odd acoustic song, the distortion is set to maximum gain to belt it out alongside a rhythm section pounding it so fast and furious that it compels you to get you air drum on.

Lead single, Black Tattoo does the honours of opening up the proceedings and is a perfect introduction to what lies within. Following on is Choir Boy with that great Aussie rock, AC/DC type feel about it, and Jamieson takes the piss out of himself warbling, “I was once a 5 star choir boy / Now I’m a rock ‘n’ roll messiah.”

Carried Away is a great little tune with flange effects layered over a guitar driven intro rolling out into a bobbing chorus. It is easily one of the best tracks on the album, and would work extremely well if it were to be released as a single.

Diversity is something this record has plenty of. Whether it’s straws, strings and acoustics on Minute by Minute, Bad Religion-esque backing chants on Outside Looking In, harmonica and organ on the blues-tinged Find Your Own Way, or the phat bass grooves reminiscent of their early days on Gun For Hire. There’s a bit of something for everyone here, old fans to new, and mainstream radio listeners alike.

What You Got instantly wreaks of The Lost Gospel (Jamieson’s side project), and it was no surprise to see it was co-written and performed on by Lost Gospel band mate Matt Strong. Strong also lends his skills to Melted Holiday, another song uncharacteristic of their usual sound and style. Whilst both songs are good in their own right they stick out from the rest of the album and would have been better left as B-sides or for some other project.

Production wise, this record is suitably slick. There’s nothing rough or raw about this, but for the type of music contained within it’s not out of place. At the helm for this release was – œMesh’, accompanied by Phil McKellar for mixing duties, the songs come out sounding huge, clear and crisp. Often “big” and “slick” can be dirty pre-fixes for a lot of rock bands scared of ruining their credibility, and that this record can be described with such adjectives is in no way negative. Every once in a while a record comes by that has an almost perfect mix to it that re-assures you great production does not have to result in – œover produced’ bubblegum pop, this being the perfect example.

In interviews the band have claimed they believe they still have at least another five albums left in them, and after hearing this it becomes easier to actually believe this. Grinspoon are back at the top of their game, and if future material remains at this standard then there is nothing more to say than bring it on!