Forget Aussie rules, rugby, cricket, and even dwarf-tossing. The reason Australians were put on earth was to play teeth-rattling rock ‘n’ roll. Breathing the same air as the likes of Airbourne, Rose Tattoo, Cold Chisel, and, of course, the band with the bloke who dresses like Wee Jimmy Krankie are an electrifying force of nature called Shotgun Mistress who return with their sophomore album Kings Of The Revolution.
Shotgun Mistress – Kings Of The Revolution (Independent)
Release Date: Out Now
Words: Brian Boyle
Although Shotgun Mistress might sound like a Sunset Strip ’80s rock breed of band, don’t be fooled. There are no didgeridoos concealed down nut-squelching spandex here or gargantuan bleached mullets.
Like most rock bands down under, there’s no hidden agenda. It’s all about sparking it up and getting right in your face. The title track does exactly that, and if you’re hearing this band for the first time, your jaw is most likely still on the ground. A bit like Extreme in parts with vim and vigour by the bucket load.
In frontman Glenn Patrick, Shotgun Mistress have a true gem leading the charge. He has a bit of Sebastian Bach-ness about him when he bosses the heavy grooves of Sweet Woman, Shot Down and From Hell, all tracks that prick the ears on the virgin listen.
If you’re familiar with guitarist Matt Wilcock’s Death and Speed Metal endeavours with previous bands Akercocke and The Bezerker, then you will know he can impressively navigate his way around a fretboard. Quite simply, the bloke is a serial riffer.
Wilcock provides an anarchic pulse to Addicted To Pain, It’s Alright and can pump out virtuosic solos at ease, like on the heavy melodies of Mary Jane, which features fellow Aussie Rusty Brown of Electric Mary.
Proving a thoroughbred rock ballad is still relevant today, Welcome To The Fight asks you to reach for a cheap lighter as it’s flowing full of old school chimes with echoes of Guns N’ Roses Patience kicking it off, then coming to the boil with a hook drenched chorus.
There’s not a remote whiff of a clunker on this album, just a consistent feel of a band in love with what they’re doing. And mixing it up seems to come natural to them, like on Jude Judas where decadent ’80s Rock mixes comfortably with ’90s traits.
If the dice rolls favourably in the direction of Shotgun Mistress on this form, they will deserve all the success that comes their way.
