Washington are a band blessed with a photogenic frontwoman, yes, and some radio-seducing tunes to boot, but are far from pre-packaged pop. Last year, they whipped up a storm in their native Australia, bagging two Aria Awards for ‘Best Album’ and ‘Best Breakthrough Artist’. Now their bold debut has traversed the seas and – if all is right in the world – they should be emerging from their cocoon-like cult status any moment now.
The opening track ‘1997’ is instantly perky with a trusty tambourine rhythm that can’t fail to please. But it’s the second track ‘Navy Blues’ that really gives the band room to manoeuvre – a sudden gear change into sassy Motown and wry lyricism. In fact, Washington are so good at tongue-in-cheek lines that it seems a surprise to hear repetitious phrases – something that comes close to overkill, at times.
All is forgotten, however, when we get our first taste of stripped-down songwriting. ‘Underground’ is a vulnerable vocal and guitar piece with a homesick, bittersweet vibe. We’re hardly given time to emotionally recover before being plunged into the weird and wonderful ‘Holy Moses’ – a bone-jangling single that features a much talked about kazoo solo.
The album veers between grimy rock and treacle-sweet pop before coming to a quiet climax with ‘How To Tame Lions’ and ‘I Believe You Liar’. These two concluding tracks couldn’t do more for the heartbeat of the album – acutely sensitive songwriting, but with a distinctive swagger. The effect on the listener is one of disorientating pleasure – and if you like that feeling, you’re going to love it.