End Of Fashion - Book OfLies

Wed 29th Oct, 2008 in Music Reviews

It has been a long time between metaphorical drinks for proud sons of Perth End Of Fashion. Spawning originally from the sadly-dormant Sleepy Jackson, End Of Fashion’s 2005 self-titled debut received widespread airplay, with singles such as The Game and She’s Love displaying vocalist/guitarist Justin Burford’s keen ear for a potent melody. Their previous EP featured the brilliant ballad Rough Diamonds, giving a sneak peek at Burford’s immense vocal range and lyrical dramatics.

And surely all of Australia recalls the saturation ARIA-nabbing single O Yeah endured – an – œinnovative’ tune highly reminiscent of Where Is My Mind? by little-known, underground band of the – œ80s, The Pixies. But we can forgive them for this – after all, Burford now parodies himself in shows by playing the – œoriginal’ before launching into O Yeah, or by craftily inserting Pixies’ lyrics. Witty. Throw in a penchant for some thoroughly exciting live shows and you have a next-big-thing band on your hands.

Aside from teaser singles on their MySpace and website late last year ( Kamikaze and Biscit ), lead single Fussy has been the first reminder of the (usual) trio. Packing in horns from Mexico and Burford’s huge wails, it provides a good insight into the newer, self-proclaimed – œmore cynical’ End Of Fashion of 2008. It is also apparently reflective of the internal dialogue of a serial killer!

Following the emotional upheaval that was the well-publicised break-up between fellow Perthsters Little Birdy lead singer Katy Steele and Burford, deeper, more mature themes were pursued, utilising wider experimentation and new collaborations. There are still handclaps, there are still guest vocals (albeit no Steele, obviously), and there are still those drum-and-vocal-only segments designed for one’s personal steering wheel solos. Guitarist Rodney Aravena and bassist Tom King have played a more integral role in the songwriting and instrument arrangements, which is evident in songs such as Muse-like Trust and dirty Kamikaze. Usual drummer Nick Jonsson was replaced by former stickman Mike Hobbs for Book Of Lies, adding a touch of nostalgia to the whole affair.

One half of The Presets Julian Hamilton co wrote the pop-dance affair that is instantly pleasing Dying For You – easily the best track on the album. The ending “Now you see me, I see them, They see you” is pure Hamilton, whilst the pulsating rhythm melded with the pealing falsetto is EOF at its best. Opener, the cutesy Biscit, is a straightforward pop-rock song, something akin to Stereophonics, although the computerised – œuh ohs’ (and the misspelled title) are borderline annoying.

When Burford is more The Walkmen and less Rod Stewart, End Of Fashion are at the top of their game; the beautiful Force Of Habit trumps both the lame Burning In Neon and droning Exotica. Kamikaze is set for radio success, resplendent in the production by Magoo (Regurgitator, Powderfinger), and Andy Lawson’s (of Perth band The Avenues) polish. Down or Down is a plodding yet effective vocal exercise epic for Burford, preceding the déjà vu-inducing American. However, the ratio of thriller to filler is in EOF’s favour.

That said, Book Of Lies is a decent sophomore album from one of the country’s more respected products. Hopefully the ensuing gig-fest will seduce fans further into the talent these musicians possess, even though Burford can be a little overly self-important at times. You win some, you lose some.