The renaissance of punk in its full essence has been long awaited, so Amy Taylor had to take matters into her own hands. Hailing from Melbourne, Australia, Amyl and the Sniffers released “Cartoon Darkness,” an album full of rage that voices the frustrations of living in modern times.
The album starts with the lead single, “Jerkin.” The track has a copious amount of swear words, but it is such a powerful start to the album with rampageous guitars and potent drumming.
Bikini Kill comes to mind when listening to “Chewing Gum,” the next song on the album. It sticks in one’s mind after the first listen, inspiring one to join a band and belt the anger out in messy rock arrangements.
The guitar in “Tiny Bikini” confirms the album is front-loaded, with hit after hit playing. A mixture of Debbie Harry and Kathleen Hanna is thought of with the satirical vocals and the parodying lyrics of Taylor that speak on the right to wear whatever she wants without being criticized by men.
“Big Dreams” sounds like a Hole anthem, with Courtney Love-esque vocals in a somewhat slow song about the frustration that comes with following dreams. “It’s Mine” contrasts the previous track with strident guitars and wrathful vocals. It is a fast-paced song that inspires headbanging and moshpits, going into an abrupt ending and picking up with an equally fast song, titled “Motorbike Song.” A punk song in its purest form; the kick drum smashes through the kit, and the echoing vocals work perfectly with the rage-filled guitar playing.
A 1980s rock influence is heard through the riff of “Doing In Me Head.” Taylor potently sings in the furious song, making the listener dance along as the song transitions to “Pigs.” This song channels Ari Up from The Slits. In this cymbal-crashing craze, the guitar slides through the strings in a perplexing solo, going into a sudden stop followed by “Bailing on Me.” Taylor’s vocals blast through the strumming of the heartbreak song, followed by “U Should Not Be Doing That,” released previously as a single of the band.
The transition is insane. Angular vocals snap back at the criticism Taylor faced when using unconventional routes to bring the band to success. She does not care about the unwritten and methodical rules of being a woman in the industry, and that is the most punk thing someone can ever do.
The next song “Do It Do It,” is a lyrical continuation to the last song that sounds like the theme of a show. The echoing vocals of “Going Somewhere” are enjoyable. It is slower than the other songs, yet still very energetic, although it has to be the weakest link on the album.
The final song, “Me and The Girls,” has robotic vocals and Aussie accents blaring through the song. The lyrics have a Riot Grrrl essence, commenting on women’s rights and men’s wrongs. Although the message is commanding by itself, it is a weak ending for such a musically furious album, which concludes in a sudden halt that leaves the listener wanting another song.
Overall, Amyl and the Sniffers are breaking through an industry of indie and pop sounds, bringing back the raw power of 80s punk rock and Riot Grrrl sounds into mainstream media. The album has raging vocals and powerful lyrics, encompassing the anger of not knowing what the future will bring with the collective fear of criticism and the illusion of having a voice in online media.
