Rolling Blackouts Coastal Fever – Full Performance (Live on KEXP)

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Mary Jeans – ROLLING BLACKOUT COASTAL FEVER: Hope Downs (SubPop, 2018)

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ROLLING BLACKOUT COASTAL FEVER se alinean en la onda más enérgica (o Rough Pop, como ellos mismos se definen) del Pop australiano de toda la vida. 
Una gozosa aproximación al Power-Pop de los setenta con aderezos del College Rock y las gotitas Jangle (la tarea de sus tres competentes guitarristas contribuye a ello) que tanto nos enganchan, con unas guitarras electrizantes y lo suficientemente cristalinas para engancharnos. Un álbum de debut a lo grande, inspirado, imaginativo y con las suficientes bazas para repetir en un segundo. Si la fórmula les continúa funcionando, les auguro un futuro prometedor. Por lo pronto, gozamos de este Hope Downs. SubPop sabe lo que se hace…

“Rolling Blackouts songs have always been fueled by a jittery energy; though Keaney is billed as the band’s acoustic guitarist, he’s more like a second percussionist, his ceaseless strums propelling the songs with bongo-like fury. As “An Air Conditioned Man” vividly illustrates, however, Hope Downs radiates panicked agitation more than manic exuberance. Sure, the band continues to function as an ’80s college-rock fantasy camp: “Talking Straight” packs in all the post-punk propulsion, needling jangle, and crestfallen harmonies of an I.R.S.-era R.E.M. classic, while “Bellarine” practically begs you to sing the Go-Betweens’ “Was There Anything I Could Do?” over its opening riff. But RBCF are hardly operating in a blissful record-collector bubble. On “Mainland,” they put their own privilege under the microscope, with Russo recounting a recent trip to his ancestors’ homeland near Sicily, where bathers enjoyed postcard-perfect waters not far from where refugees were swimming for their lives. The beautifully downcast “Cappuccino City” paints an immersive yet damning portrait of café culture, singing of “FM on the stereo/Belgians in the Congo” as he subtly threads the needle between simple Western pleasures and colonialist violence.
Thirty years ago, RBCF’s brand of alternative rock would have made them ripe for crossover fame. But these days, their “120 Minutes”-era sound has been pushed to the margins—and not just of the pop charts. Even within the realm of contemporary indie, the band is a glorious anomaly. Sophisticated and subversive in equal measure, their staccato sing-alongs come on pristine and precise, then unspool in surprising directions as decorum gives way to abandon. Rolling Blackouts may occupy an empty playground on the modern rock landscape, but that gives them the freedom to run wild in that wide open space, inventing their own games and making up the rules as they go” (Pitchfork)

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Rolling Blackouts Coastal Fever: Talking straight (SubPop, Single, 2018)

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“It took several run-ins with the song before my brain started firing off alert messages to my hand, commanding it to reach for the volume knob in order to turn up the car radio. At a lower volume I could only hear what sounded like a Mick Jagger vocal affectation over steady garage rock instrumentation. At a higher volume the plot thickened when the songs furious tangle of instruments and pop-perfect use of AB song-form were all properly brought to the fore. It sounded like Tom Petty’s “American Girl” was bitten by a radioactive “See No Evil” by Television” (Turntable Kitchen)

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