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PREMIERE: OHMS offer up a genre thrashing thrill ride in their new Untitled EP

There’s something vastly liberating about a track that sounds the way driving 100mph in a convertible feels. While many try, an inherent catchiness to a song is an elusive mistress and only a select few have managed to achieve such power. But, alas, here we are again, jaw to the floor at the sight and sound of a band that came straight from left field to give us just what we wanted. OHMS and their new, Untitled EP are a powerhouse of creativity and finesse.

OHMS

OHMS deliver a melting pot of influences in a fast-paced, coherent and wildly exciting musical ride in their new, Untitled EP.

The Untitled EP is the third offering from the Melbourne four piece and, good lord, is it catchy. Picture, if you will, a scene in which you’re in sunny Vegas, fleeing from cops at breakneck speed in a vintage Mustang. What songs are playing? Don’t know? Just scroll down a little to the link below and listen closely as your badass 80’s montage plays out in bursts of multi-coloured explosion. Note after note, the EP takes no prisoners and is exactly what we’ve come to expect from the band.

A certifiable clusterfuck of influences ranging from glittering glam to visceral punk, Eating My Lips sits smugly, smiling inbetween, donning its fluorescent soundscapes gloriously. Crunching guitars soar in airborne solos while drums beat their sprinting groove deep into the psyche of the listener, begging for attention and getting just that. All this talk recently of how women are fucking killing it in music, particularly rock n’ roll, has multi-gendered OHMS sitting on top of a pile of unworthy social illiterates and showing us why it just goes without saying.

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Vocals weave polyphonic layers between the cracks in your subconscious, leaving no choice but to succumb to the track’s addictive buzz. Sugar sweet tones are undercut by the spice of fuzzed out mayhem, making for a satisfying musical meal of five-star quality. Each track on the album is a fleeting glimpse at minds of seemingly endless creativity, leading to a need for repeat listens.

All the while, cuts like Shit O’Clock are blatant punk rock bangers, musing on the endless crevice of work and commitment that comes with adulthood, accompanied nicely with the chaser of album closer Good Thing I Got Sacked I think we all know what they mean. The EP is a lip-piercing thrill ride through the fastest interpretation possible of a vast minefield of rock genres. It’s lyrically relatable while being otherworldly in sound and conviction and it’s by far OHMS’ best effort to date.

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April 28, 2016