Mermaid Avenue - Sugartown

​Mermaid Avenue

Sugartown
​self-released; 2022

3.9 out of 5

By Dino DiMuro

Mermaid Avenue is a six-piece band from Brisbane, Australia that have just released its second album Sugartown after a four-year hiatus. In what’s become a familiar theme of the Pitch Perfect website, Mermaid Avenue utilized the unexpected Covid lockdown to write and record new material, “and this is the first batch out of the oven.” Every track has been previously released as a single, in the hope that each song could stand on its own.

The band states that this album “has a range of parallel themes. Stylistically we haven't written a song to conform with any theme or market, but rather allowed it to develop into what it eventually became.”  The band members include Peter Clarke (guitar/vocals), Casey Lee Chadwick (grand piano/vocals), Mike Keary (lap steel guitar), Chris Wong (guitars), Mark Egan (bass) and Anthony Judd (drums). Like their first album, Sugartown was recorded by Steve Robin at Barn Studios, with mastering by Jason Millhouse at Recordworks.

With the first track “Turn the Page” my Bandcamp was hesitating so I turned up the volume. OUCH! The opening chord is a killer! Right away there’s a rush of sounds and influences, but overall the crunchy fuzz guitars, lap steel and acoustic piano gave me a Rolling Stones vibe. However, the vocals are a little more clear and youthful than Jagger. The band says this song is about “asking if a long term relationship can survive infidelity.” To these American ears, the band’s Australian accent singing “Turn the page over” sounds a lot like “Time to take over,” which also works. 

“Philosophy” is similar to the first track but switches out the piano for a hard-driven electric organ. This time the vocals and guitars bespeak a John Mellencamp Americana influence, which may be appropriate given that this song is about “the frustration of seeing a loved sibling move to a foreign country.” I love the couplet: “Tell me about the books you’ve read / Don’t you know philosophy is dead?” This is a fun, hook-filled track that also features a sweet harmony vocal by artist Pepper Jane toward the end.

“California” amusingly starts “strummingly” like a ’70s singer/songwriter classic from Asylum Records. I always enjoy odes to my glorious (and very hot) home state, and this is a nice one. Jangly, laid back and featuring some tasty background (and foreground!) lead guitar. I don’t say this often (or ever?) but the lead vocals on “Old With You” sound a lot like Elton John! The song is a minor key rocker that wouldn’t be out of place in an Eagles setlist. Especially cool guitar breaks here. “Don’t Settle for the Pain” (all these singles have great covers, BTW) has the jangle and tonality of a Pete Townshend solo track, and is about “trying to help your children learn from your own mistakes.”

“Prisoner” is more of a dramatic ballad, with a slower beat and very expansive strummed guitars. Mike Keary’s lap steel again shines, and the vocals are almost church-like (the organ doesn’t hurt either). “Good Enough” has a piano intro worthy of “Lady” by Styx, and is a surprisingly upbeat song about a marriage threatened by gambling and drink. The piano continues to be prominent throughout the tune, which is again sharpened by dangling hooks.

“Evelyn” is said to be “a story of love set in another place and time” and features electric sitar and slide guitar. By this point I’m just gonna say that lead singer Peter Clarke sounds like Elton, because he does! That quality along with the singalong, homey feel of the choruses make this song a late standout. 

“Moments of Regret” opens with guitar chords and melodies that are VERY close to Lynyrd Skynyrd’s classic “Free Bird,” and in fact checking one against the other makes me realize that Skynyrd might be another big influence for these guys. Of course this is a totally different song but those memory pangs you feel are not misplaced! Nice concluding guitar solo too. The final track “Sugartown” tells the story of rural towns from an outsider’s perspective, “as sparse and ethereal as the country that inspired it.” It’s an unexpectedly mellow ending where you can almost feel the hot wind and the dust blowing around the guitars. “Sugartown you were once good to me / Wrapped me in your arms so tight I couldn’t breathe.” The band takes one final moment to rock out before lowering the curtain. 

​Though I’m normally more partial to concept albums, the band’s idea to do an album of single-quality songs was a good one, and they pulled it off. Recommended!

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