20 October 2022 – album review by Harry Leithhead
Australian North Shore 6-piece Ocean Alley are back with their 4th full-length release, the psychedelic indie-tinged Low Altitude Living. Following 2020’s ‘Lonely Diamond’, which debuted at #1 on the ARIA Vinyl Chart, this new album simultaneously sees a band playing to their strengths, while also pushing themselves sonically, incorporating new influences throughout its 12 songs.
Throughout the album, washy reverb-soaked guitars appear on nearly every song and contribute to the summery road-trip atmosphere. Contrasting well against these are the smooth lead lines that cut through the mix, the occasional piano lines that add a romantic element, such as in ‘Home’ or as the driving pad in ‘Snake Eyes’. The rhythm section is largely used to hold down the groove, doing its job well. Thankfully, the bass gets a chance to take charge in the playful, easy listening ‘Simple Pleasures’, whereas the drums have to wait until the albums closer, the 6-minute juggernaut ‘Lapwing’, to cut loose during the outro and prove to be worth the wait.
Ocean Alley have proven themselves a reliable source of psychedelic inspired rock. ‘Touch Back Down’ features a very Beatle-esque bridge, while ‘Drinks and Cigars’ features vocals that seem to melt into the music during the crooning chorus. However, after an opening half that honours this sound, the band take some risks and experiment more in the following half. ‘Parking Fines’ has an unpredictable nature, fronted by an Arctic Monkeys style guitar buzz that drives the song into unknown territory, and an off-the-beat outro giving a final surprise. ‘West Coast’ feels like Ocean Alley meets Red Hot Chilli Peppers, with drummer Tom O’Brien giving his best Chad Smith, singer Baden Donegal with a dose of Anthony Kiedis, and a great synth line that has me feeling like I’m playing GTA San Andreas again. ‘Changes’ is easily the biggest chance of the album, opting for acoustic guitars, a droning, foreboding chorus creating a borderline rock-metal sound, and a fantastic guitar solo outro that Slash himself would approve of. It’s a bold song and works well. The music, dynamics and instrumentation of Low Altitude Living are tight, rich and wonderfully layered, to the point where I’m hearing new elements each time I listen.
Lyrically, Low Altitude Living covers themes of love, heartbreak, desire and the safety of coming home. Donegal sings with a heartfelt croon, and opening track ‘Home’ speaks of how he loses himself while away. ‘Touch Back Down’ reiterates the feeling, with the warm sunny surf and beaches from which the band come seemingly the inspiration. The chorus is a brilliant optimistic singalong, and a personal favourite of the album. Beyond the positive anthems, there’s a mysterious darkness to be unpacked throughout the songs. ‘Drinks and Cigars’ finds two people who have grown apart. Conversely, ‘Perfume’ sees a secluded couple growing closer than ever. The choruses are especially great start to finish, and are generally the highlights of the song. ‘Parking Fines’ showcases great soaring vocals that launch off the dangerous guitar and swirl into the void.
Low Altitude Living is Ocean Alley at their most adventurous and experimental. Produced by long-time collaborator Callum Howell, they self-describe their latest release as ‘cohesively honouring the traditional features of their distinct sound, and equally giv(ing) it a refreshing and exciting new edge’.
‘Changes’ might challenge listeners with a heavier sound, but it is a bold song that builds upon the broodiness of ‘Parking Fines’, in a great juxtaposition against feel good groovers ‘Touch Back Down’, ‘Double Vision’ and ‘West Coast’, before building to a cinematic closer with ‘Lapwing’. They play Falls Festival, Lost Paradise and Heaps Good Fest towards the end of the year.
