My history with Brisbane legends Dreamkillers goes back to the very beginning of the band, when I was attending Lowood State High School with the bands original drummer Paul McAllum. I remember sitting in his lounge room listening to him play pieces of music that would later appear on Poison In The Soup and Dreamkillers were also the very first band I saw live.
So to say I am an old school fan is still somewhat of an understatement.
Which is why I jumped at the chance to review Dreamkillers upcoming album, Proiphys Cunninghamii. Has time softened frontman Les Jobson‘s attitudes and viewpoints? Has the current global political climate altered the venom and honesty that have always been a staple of Dreamkillers music? I already know the answer will be a resounding no, but just for shits and giggles let’s just say I press play with an air of trepidation…
It seems quite appropriate that a track called Close Down The Circus would open preceedings, and starts off with a deliberately bastardised circus style intro that wouldn’t be out of place in the Five Night’s At Freddy’s franchise. It is strangely calming for some reason and typifies the altered viewpoint from which Dreamkillers have always produced their best.
Before long frontman Les Jobson enters the sonic disposition, maintaining the tranquility before the familiar and welcome bottom end that has epitomised the Dreamkillers sound kicks in and Close Down The Circus morphs from a childs nightmare into a swirling mass of sonic intensity that so far almost feels slightly inverted.
One of Dreamkillers strengths has always been the ability to build each song via musical variations – sometimes subtle, often not – and as Close Down The Circus nears the half way point you can tell by the growing urgency in Jobson‘s voice that this song is about to veer into another direction. Which comes as a slight shift in tempo sees the track elevate into a more chaotic nature before being pulled back courtesy of a tastefully placed guitar run which soon gives way to an even tastier guitar solo.
Although I am no closer to knowing why the circus needs to be closed down, I am happy to run with Jobson‘s assertion that there are “too many clowns”, but I am sure, as per every other Dreamkillers song, the true nature of the lyrics will reveal themselves more with each listen.
Nutgrass Fever is next and is hopefully a much heavier take on the other Nutbush classic. The purposeful drum roll that starts the track affirms that hope as Nutbush Fever roars to life in vintage Dreamkillers fashion, a mixture of apathy and contempt materialising as Jobson begins recounting his tale, offset by regular injections of muscle courtesy of guitarist Damien Kechagias. This tune is catchy as fuck as it alternates between venemous intent and anarchial beligerance, told from the viewpoint of one of the most brutally honest and unflinching vocalists of the last 30 years.
Reset Broom sweeps to life on the back of a swirling guitar led intro that soon fades into the background as Jobson joins the party, repeatedly telling us “you have waited for this moment all your life”, and I, for one, am not foolish enough to even question his beliefs. This track is more up tempo than the first two tunes, maintaining a strangely consistent output that – as if on cue – drastically drops pace for a period and makes me out to be full of shit.
But that has always been one of the main charms of Dreamkillers. Their ability to veer off into unchartered territory frequently throughout their songs, weaving a sonic tapestry of confusion that somehow comes to a conclusion that manages to make sense. Fucked if I know how they do it, but they do and it’s sensational!
Many – including myself – might find it hard to believe that Dreamkillers hold Aussie rockers Skyhooks in such high esteem, but proof is in the pudding with these guys and they pay homage to that fact with the next song Shirley. An upbeat and – dare I say it – happy feeling song, Shirley is pure hard rock goodness, performed by a band that is not renowned for songs that highlight the brighter parts of society. But Shirley is a perfect display of musical respect from Dreamkillers, fluctuating between catchy hooks and manic breakdowns in a poignant moment of genuine appreciation for one of the greats of Australian music.
I have no idea what the next track Self Raising Flour is about, but I am pretty certain it won’t be about baking a cake. But you never know…
A softer, almost oriental style guitar lick entices an equally serene vocal opening from Jobson that almost has me tricked into thinking this could be an Egyptian love song before things turn quickly on their head as a sudden outpouring of ferocity sets us on course for rougher terrain. This, to me, is where Dreamkillers are at their best. With a point to prove and an even bigger point to make. It allows the natural aggression inherent in the band’s DNA to rise to the surface and accentuates all of the elements that make Dreamkillers and their music so timeless.
Personal favourite thus far.
Eat Pity is next and opens with a wall of guitar that coaxes Jobson into action as he spits and snarls his vocals, alternating between moments of beauty and passages of carnage that accentuate each rise and fall of the subject matter. This is meat and potatoes Dreamkillers – meant as a compliment 100% – and proves that Dreamkillers 2026 are still as vital and relevant as the band that first burst onto our stages in the 1990’s.
It’s hard to describe Dreamkillers music because much of it is based on emotional connection more so the actual music. The band has always run the gammit of musical genres, increasingly difficult to pidgeon hole into one specific genre with an eclectic consistency that has defined a genration of Australian music.
The title of the next track Mulberry Sky sends my mind retreating through Dreamkillers back catalogue where I am sure those exact words have come up previously and ater a brief moment of reflection I am pretty sure it is mentioned during Synthetic Nuts, but I could be wrong…
Anyways, that probably has nothing to do with this particular song which starts with a flurry of guitar and drums that continues as Jobson almost sings into action, his voice an initial moment of calm in the chaos before he succumbs to his inner fire and delivers his lines in a more urgent and frenetic nature that alternates haphazardly with the softer moments for a brief passage before the flame takes over and Jobson attacks each line with more vigour.
It is a musical disparity that Dreamkillers have employed successfully throughout their career, with that uncertainty being one of the only certainties of their music. If that makes sense.
Chrisgaar Osborn lets rip with a tasty guitar solo that momentarily restores some semblance of balance, but, let’s face it. Who wants Dreamkillers to conform in any way shape or form? And even if you did, you know damn straight that it ain’t gonna happen. Bless their cotton socks.
Breathing to life courtesy of a tough as fuck chugg of the guitar, album closer Moth begins with Jobson almost teasingly stating “You don’t like me”, before things turn nasty. Instead, we are treated to a schizophrenic outpouring of emotion punctuated by rapid bursts of guitar that is soothed momentarily as Jobson returns to action, fighting an intriguiging battle of wits against the remainder of the band who seem intent on keeping him on his toes musically.
This song has it all, harmonious moments mixed with sudden outbursts of intent, offset by a maelstorm of musical happenings that makes it impossible to pinpoint the exact genesis of the track. In the hands of most other bands this would result in an incohesive splattering of sounds and music, but in the hands of Dreamkillers is just another venture into the unpleasant truths that are too often silenced in modern society.
Which brings us to the end of the album BUT if you are still desperate for more, Dreamkillers have released a bonus edition on CD with Vinyl available for pre order which includes seven more tracks for your pleasure. But you are going to have to grab a copy for yourself if you want to know how good that is…
Order/save your copy HERE
