By Coen Ayres
It’s time for music lovers to unite during these trying times.
As a family, we must come together in the name of faith and gigs.
We must gather our records, plug in our headphones, and still support our local musos.
Because the church of Party Dozen is in session for yet another incredible listen.
Despite some collabed tracks with Sydney punk trio ARSE in 2018, Party Dozens' second LP ‘Pray for Party Dozen’, is saxophonist Kirsty Tickle and percussionist Jonathan Boulet first signs of life since their first record, The Living Man, in 2017.
And by god was the wait worth it.
The album is unique in many ways, but at its core, the beauty of its sound comes at both its simplicity and experimental sounds all from a drum kit, saxophone, and a handful of beat pads and pedals. With this, Tickle and Boulet create an album so exciting and energetic without once speaking a (understandable) word.
Stripping back some of the harsher almost fever dream-like sounds that made the first album so fascinating, ‘Pray for Party Dozen’ is an album that still plays off of a sound that's so delightfully fresh that even the less adventurous music lovers of music will appreciate at least one of the ten tracks on the record.
The album's first track, World Prayer, unleashes a fiery pit of saxophone and drums which sounds like they’ve come from the pits of hell (in the best way possible). The track gives listeners the chance to buckle down and get ready for what's about to happen for the next half hour.
Speaking to Tone Deaf prior to the release of the record, the duo reflected on the grueling process the recording session of this song was.
When we finished tracking, we were both shaking, sweaty and completely out of breath. It was by far the most physically demanding track during the recording process.
But before you expect another half hour of craze induced fear that sees you either hiding underneath your covers or tearing down the walls of your surroundings, the album switches gears and slows down while keeping its heavy drum sound. But again, before you’ve rested you’ve feet up, it picks back up and slows back down again.
It’s this constant building on beats and sax notes that keeps the listener focused in for the full record. While some slower tracks like Shit Face treat us to some interesting blends of jazz and electronica, it's the fast-paced jam seshes that are found countless times over the record that make this the contender for one of the best albums of the year.
It’s quite the listening treat for those looking for something new in a world where music is dominated by trashy rap and pop. The record is a reminder that YES, there is still fantastic original music being produced, and that it’s being made possibly right around our corner. If after this you become a fan of them, make the effort to see them live when gigs return, they blow a lot of artists out of water for their fast-paced and intense sets and they’re truly one of a kind.
By Coen Ayres