Hey Baby! began nine years ago when 16-year-old Kacper Majchrowski first learned how to record his music on a computer, using a simple drum machine and running guitars and basses through a preamp. When Majchrowski made the move from Sydney to Brisbane, Australia, he met drummer Jaeger Brodie while jamming at a house party. The two quickly bonded over similar music tastes. Wanting to form a band, they sought out another guitarist, which was answered by local player Sam Wilson. The band recently acquired Callum Young on bass who also plays guitar in Jaeger's other band The Jumpkicks. Since getting together, the quartet went straight into writing energetic tunes – described as “dirty indie-rock.” The band loves to play fast-paced garage tunes but they don’t take their lyrics too seriously. Essentially, their songs are about growing up while having fun, falling in love, dissatisfaction and taking drugs.
Their EP Couch House, released in the latter half of 2018, was recorded and mixed outside in the country with Alistar Richardson (Zefereli, The Cairos) before being sent off to Grammy Award-winning Australian mastering engineer William Bowden (aka King Willy Sound). Everything was recorded in Alistar’s studio surrounded by trees and peacefulness, with the exception of the outro on “All Good Things Must End” which was recorded on a phone while everyone was hanging out and Ali was messing around on an old battered acoustic – sounds pretty cool. The opener “Something Awful” doesn’t sound awful at all to me. It’s a fun, danceable song, frenzied and clearly energetic. There are a lot of swears, so if that’s your thing, this is your song. “Kids” has a somewhat cleaner sound instrumentally, mixing punk rhythms with surf-punk guitar. I liked how one of the band’s guitarists left space between the chords on the verses, creating tension between words. Brodie’s drumming was insane – I think I worked up a sweat just listening to him! Also, I liked the sing-along chant at the end. “Unconventional” starts off with guitar rhythm that reminded me of a familiar punk rock chords from yesteryear. The guitars here are a bit more jangly, adding to the post-punk/college rock feel harkening back to house party gigs of R.E.M. and Pylon, via 1980. Overall, this one was more “radio friendly” – does anybody use that term anymore? “Dead Inside” begins with a gentle, rather beautiful guitar/keyboard intro and it’s clearly a detour from the band’s first three hard hitting, punkish numbers. As the song played on, I loved it even more – I had to turn this one up. The guitar melody, the echoes, the harmonies between Sam Wilson and the other guys is just great! This one reminded me of something, but I just couldn’t put my finger on it. Give this one a listen for sure. Last there is “All Good Things Must End” and oh my! – the drumming is once again through the roof. The guitars are equally fast and frenzied. If this one doesn’t make you want to dance or at least bob your head, then I’m not sure what will. I think this last tune was structurally the band’s strongest and most dynamic. The group has great chemistry and knows how to play tight. More swears on this one, too.
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