Vasco Era, The - The Vasco Era (Album)
» The Vasco Era & Papa Vs Pretty Tour - September 21, 2011
» The Vasco Era - Karova Lounge, VIC - December 18, 2010
» The Vasco Era - GPO, QLD - December 3, 2010
» The Vasco Era - Blues and Rocks by the Seaside - May 1, 2007
» When We All Lost It, The Vasco Era brought it on back - November 6, 2006
» The Vasco Era - Edinburgh Castle Hotel, SA - December 16, 2010
» The Vasco Era - Annandale Hotel, The, NSW - November 20, 2010
With The Vasco Era's third album, Sid O’Neil screams out clear mockery and humble acceptance of himself. The opening track Nah Nah Nah is the literal signpost for this, painting him with wild, glazed eyes and a downcast grin while alternately howling and mumbling unabashed, straightforward lyrics. The album really is about self acceptance and the war within the social strata in your own mind. These songs are natural and richly recorded live; allowing the truthful simplicity to echo out and shake those hearts on the sleeves where they hang as Sid searches for, examines, and vilifies love, peace and understanding. Brimming with our pandemic urban youth malaise, the epitome of the album may well be the personal palliation of Rock And Roll Is the Only Thing That Makes Me Feel Good.
The album is much rawer than their sophomore album ‘Lucille’, but less scattered and furious than their debut, while being more assured than both. While songs like Child Bearing Hips as well as the likely future singles Jesus Sandals and the aforementioned Nah Nah Nah are nicely contained, hook driven and entertaining, they are not the Vasco boys at their best, in that we don’t see them go all out. In fact, we are still to see what both Ted O’Neil and Michael Fitzgerald can do beyond lay fantastic support to the fervour of Sid, nor has Sid fully unleashed his guitar skills. However, it is undeniable that they are all on their way to figuring this out.
It is a beautifully unpretentious and exciting effort which is a compulsive listen for any fans of rock with balls and/or guts. A distinct early-mid 90s distortion lifts much of the album as does the reckless ethic of leaving all stumbles and pitch variances in, while still shocking and soothing you with soft moments of both conviction and melody.
