The actual version, as posted on Wireless Bollinger.

EDIT: I just received an email saying that I got the position of a contributor with WB! Hopefully you’ll see my stuff up there soon.

The following is an honest review I wrote for Wireless Bollinger as a trial. However, they have yet to respond to it and let me know if it is worthy of being published. The LP is to be released in a couple of weeks, so perhaps this is to be in anticipation of it. Enjoy. - Josh

Often criticised in the past, this Melbourne duo have snubbed negative critics again with their new release. Satisfying the tastes of those in both the indie rock and dubstep scenes, Fabulous Diamonds II is a fascinating blend of organic Jamaican dub and psychedelic rock. Like their releases from the past, the tribal rhythms of Nisa Venerosa set the pace for often subtle variation on organ and numerous other instruments. This is the genius of fellow band member Jarrod Zlatic, creating a complex, layered sound from such a multitude of simplicities.  Similarly, the primitive vocals of Venerosa and occasionally Zlatic are often criticised as leaving much to be desired. However, it is this minimalist form which helps communicate their style and art to the listener, and this point has been carelessly overlooked in the past.

Present in the majority of Fabulous Diamonds’ recordings, the use of interacting delay, reverb and gating effects builds on the idea of simplicity of form meets complexity of sound. Mere alterations in period or range can have such profound effects on the next phrase, and often leaves the listener wondering just what will come next. The best example of this is probably heard in the last of the five untitled tracks, where small additions and adjustments to the organ’s hypnotising theme occur, often only obvious in retrospect.

With some similarity the opening track really tests the patience and attention of the listener, whether it is the much more substantial length of time which transpires before any obvious change, or the minute variation which occurs unbeknownst to the average ear.

Overall there are several fronts on which Fabulous Diamonds are challenging common preconceptions of music and performance. One is the false impression that music must follow a certain formula. Sure, they themselves have a structured approach to the music, but that is used only to strengthen this idea that change need not be in the verse-chorus-verse form, and perhaps a more linear approach should be taken. Instrumentation forms a huge part of how they convey their message, Zlatic’s fabulous sax and multiple keyboards intermingle with the often plain and harshly accented voice of his counterpart.

Whilst the cause is grand, the fact that a majority of an audience may miss this entirely does raise the question, can art music ever appeal to the mainstream listener? This is probably the greatest challenge facing Fabulous Diamonds and similar acts into the future.