The Inner-West crew have just premiered a new track, ‘In The Air’ on triple j and now the visuals have also been uploaded online for our viewing pleasure. Written on a old piano a few years ago, that humble track has morphed into a full-fledged single, displaying the band’s preference for effortlessly airy soundscapes and heart-wrenching crooning:
‘In The Air’ will appear on DMA’s next album, For Now which is set to drop on April 27. The entire project was recorded above The Lady Hampshire hotel in Camperdown (great smokey BBQ plates on Sundays at this joint) with the assistant of Australian dance legend, Kim Moyes of The Presets.
“I was brought on board to help the boys record drums for ‘Dawning’ and ‘In The Air’ but I fell so hard for all of the material in the demos that I knew fairly quickly that I would need to convince the band to let me sink my teeth much deeper. I truly loved working with these guys. So much,” Moyes said.
Produced by the band alongside Kim Moyes of The Presets, ‘For Now’ is a gloriously uplifting album of beautifully honed, passionately emotive rock’n’roll songs. A teaser of what to expect emerged late last year when intro track ‘Dawning’ was released. Demonstrating that the DMA’S are brimming with confidence, its crowd-pleasing hook and rich melodies made for the kind of timeless indie anthem that bands rarely seem to write any more.
That purity and command of songcraft is also on vivid display throughout their brand new single ‘In The Air’ which has just been premiered by triple j. It’s a beautiful ballad, with sweeping production, and daydream-inducing lyrics that shine a light on the band’s much-loved talent for pop writing.
While the collection echoes the strident, hook-heavy Britpop and Madchester influences of the band’s debut on tracks such as the explosive opener ‘For Now’ and Depeche Mode-esque ‘Do I Need You Now?’, it’s also an album that demonstrates a very organic evolution. ‘The End’ (written by guitarist Johnny Took) shows Kim Moyes’ influence with its dark electronic production and synths, while the psychedelic-tinged ‘Emily Whyte’ (written by guitarist Matt Mason) erupts into an epic, blissed out album closer.
More broadly, the most transformative element of the band’s sound comes in the shape of Tommy O’Dell’s vocals – the character and attitude of his voice is now heightened by a fresh new soulful element.
“Last time round, we were still working out what kind of band we want to be, and we still are,” admits Johnny Took. “We still have that jangly rock’n’roll aspect to it, but it’s also matured in other ways. It feels like a natural progression for the band.”