It’s not often you get a band with a name like The Great Emu War Casualties. And when you do, it’s even rarer to discover that they’re a British/Australian/Nepalese collective playing music with indie-pop hooks, art-rock sophistication and a flair for quirky, sharp-witted lyricism. So if that sounds appealing, it’s time to dig deeper into their one-of-a-kind charm with today’s release of their debut album ‘Public Sweetheart No. 1’. Listen HERE.
The album’s opening song and focus track is the perfect way to become acquainted with their distinctive style. Effervescent vocal harmonies, jangly twee-pop guitars and a nagging synth motif create a sound warm and beguiling. Yet that uplifting atmosphere is countered by heartbroken lyrics that tell the story of a dream being over – and with no redemption in sight.
From there, the remainder of the album flows in a sea of contradictory emotions. If they’re not joyously depressed, they’re bringing sorrow-with-a-smile through songs both brand new and a little older. Previously released standouts include the dopamine power-pop of the off-kilter autobiography ‘Donut’, the summer pop grooves of the Foals-esque ‘Overreacting’, and setting a wonky lifeplan to a similarly sun-kissed vibe with ‘Old Dog’.
The new songs fit in seamlessly alongside them, notably the Americana uplift of ‘Don’t Be Sad’, the way ‘Sob Story’ bursts into punchy funk-rock in a way that contradicts its title, and ‘Old World’, a sweet, sleep-deprived tale of regret that closes the record on an unorthodox high.
In keeping with the band’s general aesthetic, The Great Emu War Casualties’ story also defies the usual tropes of how bands come together. After starting in Sydney, Saskia headed to Japan to pursue her love of J-rock: an adventure which lasted as long as her visa did. Her next band relocated to England but eventually fragmented, right around the same time that Jackson was experiencing the same thing with his band in Liverpool.
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