Out now
Review by Erin Eddy
Ask any Aussie alternative music fan in their late 30s and beyond about a golden age of music in this country, and they will likely tell you Triple J was a beast in the mid ’90s through until the early 2000s.
If someone asked you “what kind of music do you like?” you could answer “Triple J” and you’d be immediately understood.
They would know you’d be referring to bands such as Grinspoon, Frenzal Rhomb, Silverchair, The Living End, Killing Heidi, Bodyjar, Skunkhour, Regurgitator, Powderfinger, Testeagles, Gerling… I think you get my drift.
We had a thriving alternative music scene that was getting a lot of mainstream recognition and part of that scene was a fierce five-piece all-female heavy rock outfit called Nitocris.
Nitocris seemed to be a blip in the timeline, but while their career was short, it left a huge impact on many of us that were invested in that scene. I have conversations to this day in which this band will be mentioned, “Hey remember Nitocris? They were badass! Whatever happened to them?”
Well folks, if you too have asked this question, I have your answer. At least, I can tell you where their
signature sound now resides.
It may seem odd that I begin a review for Raising Ravens’ album Leaving With The Halflight by taking a walk down Nostalgia Boulevard, but I felt it was necessary to set the scene.
Raising Ravens is the solo project by ex-Nitocris lead guitarist Jess Finlayson, and if you had ever wished Nitocris had kept going, you’re going to be more than pleased with Leaving The Halflight.
I chucked my headphones on, and I began my journey through the record’s 11 songs. And there it was. THAT sound, and I was so thrilled to hear it. Perhaps more importantly, I was pleased to recognise that it’s timeless.
If you ever listened to Nitocris, you know the sound I’m talking about. When a musician can be instantly recognised by the tone of their instrument, that’s a beautiful thing. Jess’ guitar riffs and melodies are an infusion of classic rock, punk and metal, and they are unique to her.
The opening track, Evil On Call instantly hit me as sounding recognisably ‘Nitocris’, as well as It’s A Trap and In My Room. I was excited as I listened to these tracks, it felt like bringing a band I loved back from the dead.
But then there are songs like Malaise, that have a sultry, bluesy feel, or Don’t Stay, which is dark and brooding, reminding me of System Of A Down’s softer songs. Closing track Live By Your Own Light is a rock ballad that perfectly wraps up the album with haunting piano playing off sweetly melancholic acoustic guitars and heartfelt vocals, stepping into an interlude that features the subtle addition of strings. It’s a very beautiful and well composed song and a lovely way to end the record.
To summarise Leaving The Halflight, I will say this: If you loved Nitocris, this will be like having them back, and you will love it. If you’re more like “who is this Nitocris that she’s banging on about?” then disregard and listen to this record anyway. It is a banging little rock album with plenty of variety for the ear, and very obviously the vision of a skilled and seasoned musician who clearly did not lay down her guitar when Nitocris faded from the limelight. Jess has taken her signature sound and created a solid rock album that can be appreciated by everybody.
It has been difficult for me to write a review on this album without interlacing the whole thing with references to Jess’ past band. Let’s face it, that was 20-plus years ago, and I have no idea if Jess feels good, bad or indifferent to Nitocris, but from my angle as a reviewer, I was struck with excitement when I realised who this record was by. I have nothing but positive recollections of Nitocris and genuinely enjoyed this album because it feels like the natural evolution that Nitocris would have taken, and honestly, that pleases my inner teenager; the kid that stared wide-eyed at these rock goddesses on the stage at Melbourne Big Day Out, 2001.
Raising Ravens is 2023’s Nitocris, and I am here for it, big time!
