Drummer by GFlip - A Review

Source: Supplied

Worried that there have not been enough big releases from local artists recently? Well, fear not. Enter G Flip, one of Australia’s surprise musical hot properties, and their new album, the appropriately titled Drummer. I confess I knew relatively little about the Naarm / Melbourne singer & drummer when I started this review. Happily, however, that means we’re working with a blank slate, so this album can be judged more accurately on its merits in a vacuum.

So, what’s to make of this new LP? Well, if you’re only here for a quick headline, I’ll give you this: colour me pleasantly surprised, because this record is excellent. G Flip’s unapologetic and clever drum work brings a highly unique x-factor to an already sound set of indie rock anthems. What’s more, their vocals will take you by surprise every now and then, and while not all songs are made equal, each entry on this 11-track LP is sure to be compelling to you in its own way.

On first listen, some of the vocal choices tend toward the pervasive modern pop style, starting songs loud and strong and having little room to escalate. Good Enough is the exemplar - or rather, it was going to be. By the time the song finished, I was still hooked and as it turns out, there was plenty of room to grow to stratospheric heights. The cards are on the table - the secret is in the drums. This artist boasts one of the most unique threads of indie-pop you will encounter, where the percussion isn’t just the driver of a song, it’s the foundation, the bedrock; it’s embedded into the very DNA of the music. This makes G Flip’s sound highly refreshing and engaging, and what’s more, it means that even the mid-tempo ballads on Drummer feel more upbeat and electrifying than a lot of hyperpop out there.

It goes without saying that, on this record called Drummer, by a drummer, there are a lot of drums featured. Pop culture resonance aside, this is one of those (far too rare) projects that can be put on a pedestal as an argument for percussionists being among the most interesting composers to listen to. Trained percussionists inherently have a unique skill when composing for pitched instruments and writing songs. It goes without saying that those parts are more rhythmically interesting, but they also show up in more subtle parts of the arrangements. Instruments are voiced a bit differently, and notes and chords are treated with a subtle individuality that you rarely get outside of composers with this skill set.

For evidence, look no further than Made For You. Despite being guitar-driven most of the way, if you’re not paying attention you could completely miss the fact that there are no drums, thanks to the way the rest of the arrangement cleverly carries the pace. Then comes the moment of indulgence at the end - and G Flip has absolutely earned the right, letting fly and closing out the album in style. It’s a thundering set of chops akin to a producer tag or artistic seal, leaving you in no doubt as to who you’ve just listened to.

A quick aside, if I may. Consider, for a moment, the sheer skill required in G Flip’s live performance. Drumming and singing are impressive enough when doing backing vocals, but to sing lead and sing well amidst a fast-paced arrangement? Credit is most certainly due.

Lyrically, there is an underlying anger that keeps rearing its head. Anger at a former lover, anger at themselves, at the world, at social norms. However, don’t think for a second that this is in any way shallow, or one-note. In an album that feels so confidently autobiographical, there’s no need for concept album theming and pageantry, and the words are made to be blunt and direct without feeling lazy or hollow. There’s also surprise sprinklings of gospel harmony, popping up every now and again. It’s a very welcome inclusion, slotting surprisingly elegantly over the top of the insistent kits and piercing synths.

In summary, for their sophomore effort, G Flip has well and truly delivered and delivered well. Drummer feels like a confident, self-contained personal statement. As this kind of album is something we tend to expect later in an artist’s career, it’s almost a little surprising that it works so well as an early entry in a discography. Consider it a true introduction into G Flip’s world; a no-frills affirmation of skill and potential, with quirky compositional tics and a smattering of striking vocals to boot. And, as an outside observer, it certainly seems like a pretty neat place to be.