‘We’re recording, shut-up’ begins in the background before a distorted electric guitar lets out a rumble. This is how ‘Jezebel’ begins, the first song off the album. It tears through everything unholy in a cursed world like an exasperated survivor of a shipwreck calling out for help or better still, yelling out in madness and anger. It’s slow and methodical and wretchedly loud.
O’brien was dead, there was pieces of him
Gala Mill remains largely a terrifying and haunting record. But there are moments of great laxness and beauty with songs like ‘Are you leaving for the country’ (a Karen Dalton cover) perhaps even tapping into the ‘Australian psyche’ and ‘Work for Me’ with Fiona Kitschin’s seductive and lackadaisical vocals lingering through the paces. ‘I don’t ever want to change’ is the only single on the album which changes it’s tempo and rocks to a faster rhythm, it’s subject matter however doesn’t deviate from the rest of the other songs.
I love you like a violin, Hunt you like an amputee
With Gala Mill being The Drones third album their song writing has improved a great deal coming off ‘Wait Long By The River and the Bodies of Your Enemies Will Float By’ (second album.) The album remains largely about the blues, death and the great drones of ‘being’ in Australia while able to laugh at it all.