Not many beverages sum up the experience of the middle class Australian underage drinker than sweet, sweet goon. Brisbane alt-rockers The Goon Sax are a perfect summation of this experience both in name and in their lazy, introvert creations, drawing from the experiences understood by goon sack worshippers the world over.
As their name might imply, The Goon Sax understand your teenage awkwardness better than anyone, spouting adolescent poetry through a green field of hooky slacker pop.
The Goon Sax have been making waves in Australian music recently with a much anticipated appearance at the coveted BIGSOUND festival and being handpacked as one of the lucky few to grace the stage at the 2016 St. Jerome’s Laneway Festival (much to the envy of the other 100+ artists who played BIGSOUND). Having recently been signed to Melbourne label, Chapter Music, things have been coming up Goon Sax in many ways.
The three piece – comprised of James Harrison, Louis Forster and Riley Jones – create a unique blend of jangly, slacker guitars and catchy hooks with melancholic, adolescent lyricism that would have any Aussie teen in tears of pure agreement. It’s a gentle, nostalgic feeling evoked by such accurate, bare bones teenage poetry. “I don’t care about much but one of the things I care about is you” exclaims, or rather drawls, Harrison on their label debut, Sometimes Accidentally.
Listening to The Goon Sax is like reclining in a beanbag in a dank, dark room scrolling through Facebook in the vain hopes of some social interaction. Lyrically, the band understand your awkward high school years better than anyone. Musically, there is a sparse yet measured soundscape that accompanies all of the songs released by the Brisbane three-piece.
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Trebly, jangly guitars and monotonous vocals are ubiquitous in Aussie music these days, but when used for the correct purpose, by a fitting group of like-minded musicians, these elements can create a unique sound that is befitting of not only a genre, but a state of mind.
Drummer, Riley Jones joined the band late in the game after only a month of drum lessons and displays a Meg White-esque, heavy handed approach to the drums that lend themselves brilliantly to the lush green fields of jangle and duality introduced by the guitars and vocals.
The Goon Sax are generating a buzz with cool nonchalance, capitalising on their relatable styl, bringing stoner-rock into poppy comfort like many before them, especially one Mac DeMarco, yet adding a touch that is unmistakably Australian, unmistakably theirs.