12 Songs, 46 Minutes

EDITORS’ NOTES

Sydney’s DMA’s are in joyous, unrepentant thrall to the sounds of '90s Britpop and American alt-rock. It’s all present and correct: The jangly guitars, the waves of earworm melody, the swagger, the bucket hats. And much like the best of Britpop, there’s an infectious, brattish bravado pulsing through this debut album. Hills End pulsates with great swirling hurricanes of noise: “Lay Down”, “Too Soon” and “Melbourne”, for example, are devilishly catchy, pomped-up anthems that can’t reach their bulletproof choruses quickly enough. The glimmering “Delete”, meanwhile, is the band’s “Wonderwall”—and proof that DMA’s can and do set their sights skywards.

EDITORS’ NOTES

Sydney’s DMA’s are in joyous, unrepentant thrall to the sounds of '90s Britpop and American alt-rock. It’s all present and correct: The jangly guitars, the waves of earworm melody, the swagger, the bucket hats. And much like the best of Britpop, there’s an infectious, brattish bravado pulsing through this debut album. Hills End pulsates with great swirling hurricanes of noise: “Lay Down”, “Too Soon” and “Melbourne”, for example, are devilishly catchy, pomped-up anthems that can’t reach their bulletproof choruses quickly enough. The glimmering “Delete”, meanwhile, is the band’s “Wonderwall”—and proof that DMA’s can and do set their sights skywards.

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