Dma's Self Titled Album Review

Words: Darci Jackson

CREDIT: Roman Jody

After taking a year to record their fifth offering, self-titled DMA’s, the Australian born, British adored indie rockers are back with what they describe as their favourite album to date.

DMA’s feels like a nod to the past, a more guitar driven, less bells and whistles sound similar to the start of their journey; quite apt as their debut album Hill’s End celebrates its 10-year anniversary this year. With the trio producing the album themselves, the artistry shines through in abundance and it’s clear that the band have done exactly what they wanted, on their own terms.

The first single released from the album, My Baby’s Place, still feels fresh, despite the demo being dug out from an old computer used at the start of their careers. It’s a simple, yet effective song, complete with the unique DMA’s sound that eases you into the rest of the album.

Killing Time is a particular highlight on the body of work, feeling both laid-back and full of zeal at the same time. The repetition of the first lyrics over the top of the hammering beat, before bursting into the soaring, electric chorus feels like a windows down, sun beating down kind of tune. The kind of song that keeps you fully engaged for the the entirety of it, and then leaves you waiting to press repeat at the end.

Following that is Heatin Park, a nod to the iconic outdoor Manchester venue which the band have frequented before, full of the Britpop fervour and excellence that DMA’s capture so well. Both that and One & Only feel undeniably punchy, with Tommy O’Dell’s silky yet powerful voice, and the melodic strums from rhythm guitarist Johnny Took.

Another standout from the album has to be Windows, a simple acoustic track taking the tone down just a notch. Lyrically, you can’t fault DMA’s. They place you right in the feeling, taking you to the time and the place they want you to, as the music wraps around you. It’s flawless and it’s a beautiful thing to be able to do.

And just as soon as we’d settled into the slower tones of Windows, we’re thrust straight back into the thick of it with a lively riff from lead guitarist Matt Mason. It’s a high energy, finish strong kind of end to an album that places DMA’s back where they should be.

The constant to-ing and fro-ing from the unmistakably British indie and Britpop tones, to the softer, more emotive tunes keeps you engaged, and it’s something that DMA’s do so effortlessly. Their distinctive sound is so familiar, yet unrivalled, and it’s what keeps them at the top of their game time and time again.