On Double Negative, the latest effort from Melbourne band Harmony, the blueprint for the band remains the same. The heart on the sleeve arrangements are stripped of all excess, never overplayed or exaggerated. Yet although things may seem the same on paper, this new collection is more refined without losing the raw edge, more immediate, without seeming obvious.
There’s a deliberate looseness, which could be mistaken for sloppiness, be it the way the band casually rides the tempo in and out, or the bare bones approach to production, not an overdub to be heard. Yet these elements are very much calculated, each adding to the scrappy vulnerability and driving home the fact that in order to make everything work the songs need to be extremely well written, and catchy as hell. And the songs on Double Negative have this in spades.
The unique vocal sound, now a trademark of the band, is as engaging as ever. Tom Lyngcoln’s impassive vocal drawl explodes into cathartic wail, fervently flanked by the rag tag soul harmonies of Amanda Roff, Quinn Veldhuis and Maria Kastaniotis. A sound that is at once uniquely Australian but on the other hand, universal.
Double Negative could be seen as Harmony maturing, shedding some of their noisier tendencies, but far from mellowing the emotion is now fully charged and the dirt under the fingernails remains.
Double Negative is available through Poison City Records now.