Every single week it’s becoming more and more apparent that Adelaide’s scene can’t be discredited. The ripper tunes coming from the nation’s south are doing the old city proud of late, and Colour Machine are one of the outfits reaping the benefits.
Bringing a blues swing to the swollen indie rock dialogue earns them special mention, for while they already nail the tropes of their laden genre, their unique and angry take is certainly a breath of fresh air. Their newest EP 2 is almost here, so best put on the safety gear; this one might leave a scratch.
Mix the rhythm of blues with the palatability of indie rock and you’ll unearth Colour Machine, one of Adelaide latest and most interesting musical ambassadors.
Like a great number of prominent rockers who came before, Colour Machine match their hard, bluesy style with an electrifying, high end lead vocalist in Anthony Donato. What has been a proven formula for canonical bands like Led Zeppelin, Wolfmother or The White Stripes proves effective once again for the Adelaide rockers, and their 2 EP is the most profound realisation of that blueprint.
Leading single Two Horizons sees Donato at terminal velocity, shrieking through a vivacious chorus with stunning energy. It’s worth mentioning this commanding vocalist also sits behind the drum kit for Colour Machine, strutting the rare line of singing drummers occupied by Whitney, Phil Collins and just about nobody else.
The lyrics of Two Horizons scream vitriol as the band divulges into almost punk territory. Whoever or whatever the song is about, safe to say there’s a few mixed feelings being thrown around. However that emotional connection absolutely feeds into the song, giving it a roaring vivacity which sits above it’s musical excellence.
EP opener Ego walks a similar line, serving as the pace car for 2′s frenetic tracklist. Confrontational and sure-footed, it seems that Colour Machine are certainly unafraid of sharing an opinion.
And from their standpoint, it’s hard to argue against the band. Although the lyrics aren’t particularly metaphorical or clouded, their simplicity is well-founded against a more chaotic sonic backdrop. Colour Machine earn points for being relatable in this regard; a founding pillar of the indie genre which they stay true to.
Retrospection is a personal favourite, built around a chunky, driving bassline which chugs along with the unstoppable momentum of a road train. Repeated lyrics compound the cyclical motion of this song, and fleeting ventures into effected and pitch-shifted vocals provide stylish, welcome variations amongst an already potent track.
The breakdown shatters expectations, a quick set of drum fills opening up the floodgates for a vicious solo from Tom Burton. Trust me on this one, it’s short but straight out of a Metallica jam.
Altogether Colour Machine have far exceeded expectations on 2. Willingness to carve their own deep niche has worked decisively in their favour, and the result is a strong stance that is held with bravado. Rather than appeal to what they think an audience may love, it’s blindingly clear that Colour Machine have trusted their instincts with this EP.
And if you don’t like it… they don’t appear to have a problem making enemies either.
It’s a brave move for a newer band, and one that’s astoundingly difficult to pull off with the swagger Colour Machine have. The meaty guitars of The Black Keys, the bass proficiency of Royal Blood and the vocals of Andrew Stockdale are a triple threat of gluttonous proportions.
Clear a path, Colour Machine are coming through.
Catch Colour Machine tearing it up live with the dates below. 2 is out March 25th.
Mar 25 – The Old Spot, SA – FREE – Event
Apr 29 – The Emu Hotel, SA – FREE