In the damaged frame of “Pub Punk” history and grimy outlines, there lays a newcomer from Australia that raises as many eyebrows as they do fists. Amyl and The Sniffers is not just another quick stain on the fabric of rock and roll, they are a new host that taps into the foundation and cuts their own line into even, while chaotic slices.
It is the attraction to the front woman, Amy Taylor who dresses in 70’s and 60’s Go Go style with large white porcelain boots and high waist jeans where she is able to stand high above the crowd through her appearance, but also on her vocal ability as well. This is not including Dec Martens on guitar, Bryce Wilson on percussion, and Gus Romer on the bass to support and stand with Taylor in a fierce, but still entertaining way. The D-I-Y way of creation and recording, to the storytelling elements of “spanking”, “Blowjobs,” “Balaclavas,” and even “Moles,” there is an awe behind Amyl and The Sniffers in a sort of overtaking wave of stunned vision. Their waves of sound come flowing in a loose-cannon, almost grindhouse fashion where the archetype of the band and of Big Attraction are breaths of fresh air in a so serious world.
That is not to say that Amyl and The Sniffers are not able to make their music sound highly enjoyable, because their energy covers most of their ability and creates an overlaying sense of passion behind their music. When the first moments of “I’m Not a Loser”, the band’s first look into the raw jump of rampant strings, the unbound percussion, and the vocal performance that grips the audience with the rough, but passionate lyrics. Taylor describes, “People look at me like I’m a hooker, but I just want to be a venue booker, I’m not a loser.” The Sniffers then join in behind Taylor to deliver, “She’s not a loser,” in these barbershop triplet of new age grace.
The love for a quick and inclusive ride is showcased on “Mole (Sniff Sniff)” where the forty-seven second fury of blitzing cymbal crashes and a guitar riff that balances on the shifting style of the Ramones. It is quick, aggressive, but still an entertaining jump through the fashionable hoops of Amyl and The Sniffers. Even as “Balaclava Lover Boogie” moves in as quickly as “Mole (Sniff Sniff)” moved out, there is still an appreciation for the instrumentalists on Big Attraction as they provide an immaculate substance and sense of transmission into the volatile energy. Taylor as a vocalist provides an additional depth to Amyl and The Sniffers, but it is Wilson, Romer, and Martens that reflect the backbone of the band.
This is evidently apparent throughout the course of Big Attraction, but is especially true on “Westgate” that has different segues and motions of ability that illustrate just how tight Amyl and The Sniffers are as a musical entity. Through the strength in sound and the continuing adaptability, there is a desire to want more with Big Attraction and to become more excited for what Amyl and The Sniffers have planned as a collective. For becoming a driving force in gutter punk rock, Amyl and The Sniffers have a bright future and while their sound might not be entirely mature, it is free and everlasting.