RVG: Funeral (fire records)
CD | LP | DL
Out of 24th April 2020
Melbourne RV is back with their second album, with a breathtaking 80s new wave of the 80s.
OK, it comes directly from the battery. On their second album, the people of Melbourne’s RVG have written a long lost record and it is wonderful. The record is built around a guitar that transforms from the ’70s new wave to the’ 80s. The rhythm of the Roman Vargi guitar runs with songs by Johnny Marsh Classic, the songs run wild, the tune is reminiscent of teenagers and Peter Perez drives it. The combination of songs confirms their glasses of style and sound at the same time, feeling fresh and loving.
Alexandra’s easy-going vocal chorus is slowly moving in and out of a rocky cliffhanger in the background. The verses intensify, but hidden music denies the powerful message behind it: hatred and violence against humans. In the LGBTQIA + community, both from guests on the street to families of humiliation. Fathers who are afraid to melt, grandparents who fear the Devil. Yet, there is always hope for a young person who can overcome prejudice. Alexandra’s younger sister. tell me. What do you think of me? “It’s a powerful opening, and once the lyrics hang on you they hold you forever. It is a message of worship and hate, which sticks to your stream, expressing the importance of escape and, like the opening of an album.
There is lonely air in the songs, but they do not feel discouraged as one direction and all his energy expand. Even though it touches on the work and sound of Roman Vogue, Christian Neusergen still supports the music as one from the beginning. Turning her gaze to the Christian preachers who hold their message to the masses, there is a power to the song and its potential as it exposes the individual’s awareness gap. An extra result when the song closes on the skull.
The songs are not always the same in their ideas. They clearly break free from songs like Little Shark and White Inner, and perhaps the most Smiths-to-song song on the record, they feel more personal than it does to personalize it. The stress of youth and poisoning comes in the form of forced invasion. The personal reflection I used to love you is beautiful and bright. His concern for the damaging love of hurt is on freedom. Released in the context of songs like Alexandra, it is unclear whether Remy is leading the game out to another. The song plays with that ambiguity. However, Pima Dona, who feels like a lot of new wave gauges, is focused on what he needs to get himself out of history. I pay for my old bridge action and everyone thinks I’m a hacker. The origins of a guitar that complements the verses and the more distorted drive when the song comes to full force, the resurgence of classical Australian garage bands such as Hoodoo Guru. Sleeping Jackson.
On the record, RVG has created a political record in private. The poems are full of metaphors about personal search, self-discovery, and attempts to find and push them into their pure boxes. This is a record that is completely out of date and can be written anywhere over the last three decades. The Automotive, by contrast, entered the world of confusion, though the path was clear from the front.
Shop here on Friday at RVG
Watch the videos below for your love for Alexandra and me:
(Embedded) https://www.youtube.com/watch?v=ywbfiYL6CbA (Embed)
(Embed) https://www.youtube.com/watch?v=aijM5ieT3F0 (Embed)
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All words by Nathan Whittle. Find his Loarer here instead of War Records.