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Wax Chattels - Clot album review

Wax Chattels - Clot
(Image credit: Supplied)

WAX CHATTELS
Clot
FLYING NUN

Defying all possible rules of logic, Wax Chattels have brewed up an album of rich and riveting guitar riffs that doesn’t actually feature a single guitar. 

Just shy of 40 minutes long, the Kiwi trio proffer Clot as rugged and raw as it comes: it’s a headfirst dive into a callous chasm of grinding bass leads, wailing distortion and loose, thrashing drums, little care favoured to structure or flow as they explore jazzy bouts of improv and walloping drops of electronic chaos. 

It’s ballsy and blistering dance-punk for the post-dystopian underground club scene the distant future awaits, fast-tracked to serve as the soundtrack for 2020’s last chunk of clusterf***ery. 

Here stands a record primed for late-night drives at deadly speeds, cheap beer benders and those midweek morning commutes where you just need to let out some angst.

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Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Their bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (on which they also serve as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Their go-to guitar is a Fender Player Tele, which, controversially, they only picked up after they’d joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped them see the light…