Some of the Most Outside-the-Box Sounds in Heavy Rock from the Neptune Power Federation
Australian band the Neptune Power Federation are one of the most original bands around. Just the idea of AC/DC with a woman out front is pretty cool (John Sharples’ New York AC/DC cover project Big Balls, with Anna Copa Cabanna on vocals is an obvious reference point). But as much as the Neptune Power Federation raise their lighters at the altar of Angus Young, they have all kinds of other influences. Their new album Le Demon De L’Amour is streaming at Bandcamp. The concept, heavy metal songs about love, is nothing new – except that these aren’t cheesy hair metal ballads. And they’re more acidic than saccharine.
The first one is Weeping on the Moon, with an intro that reminds of Pink Floyd’s Run Like Hell into a brisk stomp straight out of classic-era Highway to Hell AC/DC. Frontwoman Screaming Loz Sutch brings a little 60s girl-group-via-new-wave to the vocals. Bassist Jaytanic Ritual gets to cut loose on the long outro along with guitarists Search and DesTroy and Inverted CruciFox. Behind the kit – drum roll – is River Sticks, #bestdrummernameever.
Musically, the AC/DC is front and center in My Precious One, with a little Sabbath Paranoid edge, but it’s the lead singer’s unselfconscious angst that hits you upside the head: no cliches in that woman’s voice.
Baby You’re Mine is an unexpected detour into heavy wah-wah funk, with blippy clavinova and an organ swirling in the background. Loz reaches to the top of her wail in Loving You Is Killing Me, a strange, psychedelic mashup of AC/DC, early Santana and 80s metal with a shockingly delicate acoustic interlude before the earth-shaking charge out
The band go back to improbably successful new wave/metal cross-pollination in Stay With Thee. They follow that with Emmaline, a snarling riff-rock tune in an Electric Citizen vein with lush layers of backing vocals and a surreal outer-space interlude.
From the sarcastic intro, to the demolition right afterward, the heavy soul tune Madly in Love is the funniest track on the album. They close with We Beasts of the Night, a wistful acoustic twelve-string intro ceding to a straight-up powerpop anthem straight out of CBGB, 1979. It takes big balls to make music as defiantly individualistic as this – let alone in Australia at any time since March of 2020.