Prior to reviewing any new music, I make a point of strictly avoiding reading any other reviews of it. I mean, objectivity is all, brother. Ob-ject-iv-ity.

But by the time I was accidentally halfway though a (bad) review of Luke Escombe‘s new CD, Creeper Vine – in a hip web publication mind you – it was too late. No matter, the reviewer just did not ‘get’ Escombe’s music and blew it off in a few short paras (using a few short words).

His loss. The scribe had obviously not really listened in. He also was, just as obviously, oblivious to the work of Warren Zevon, Kinky Friedman, Dr John, Donald Fagen (or maybe Walter Becker, who is the more ‘rock’ of the Steely Dan duo), let alone the masterworks of Screamin’ Jay Hawkins and the great blues dramatists.

For this is where Escombe’s music sits: in the tradition of satirical rock’n’roll, urbane jazz boogaloo, sardonic rockabilly and sharp post-modern blues.

escombe 1In my OrangePress review of Escombe’s 2012 album, Mantown, I wrote “At the very end of the liner-note thank-yous… Northern Beaches singer Luke Escombe adds the names of Keith Richards and the Rev. Gary Davis. If he hadn’t thanked them, I would have – the music here takes so much snake-hipped groove from the former and more than a little pulpit-shakin’ drama from the latter.”

Creeper Vine takes this fire-and-brim-Stones vibe up a notch. It is almost as if he and his rip-roarin’ band, The Corporation, is trying to jam an LP’s worth of energy into this six-track EP. Opener ‘Drink More Coffee’ is hyper-ventilating rock’n’roll with guitarist Aaron Flower‘s solo popping all the buttons. Title track ‘Creeper Vine’ name checks both Westfields and The Taliban in a modern parable of quiet desperation. ’30 Year old Woman’ is a very funny tale of a man who don’t dig the bimbos and wants an older woman even though “she might have a coupla kids/Might be married to a cop”.

Julia Gillard is the object of Escombe’s red-blooded yet Left-leaning desires in “Julia” (“Come back, Julia”) and “Axe in the House” tells the tale – in a bone-chilling Dr John whisper – of potential mariticide by lopping tool. Scary but funny. Very funny.escombe 2

Closing track is the expletive-spattered ‘Industrial Action’ which combines the Australian tradition of boss-hating with the equally Australian tradition of swearing like fuck. Drummer Jamie Cameron and Harry Brus on bass blast the track – and indeed the whole album – along with glee and heft. Michael McGlynn‘s production throughout goes for a roaring, very alive and living, sound – a sound rooted in the wildness of early 50’s rock and rockabilly.

Creeper Vine is not only great fat rock’n’boogie but smart, funny and – virtually alone in the roots genre – original and literate. I mention Zevon, Kinky et al earlier only to place Luke Escombe in their ‘outsider’ company. Like them he is his own nifty little genre of one. And long may he run.

Luke Escombe and the Corporation launch Creeper Vine at Lazybones Lounge on Saturday April 4.

Published April 2015 on theorangepress.net

 

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