Working altitude masks
pop: Dun Field Three: With a joke on your neck
This band holds up a large sign with the message "We can do that here in Vienna too". Wear masks, for example. Dun Field Three cover their faces with bird masks, which makes them look like arlecchinos, indicating something burlesque and playful. There is actually something like that in their music, but first and foremost it fits the name. Bassist Nachtlieb aka Nikolaus Hämmerlein derived it from the "Dun Crow", the hooded crow.
Dun Field Three make blues-rock, as it is commonly described as "mangy", that is supposedly crude, unpolished and straightforward, but not without sophistication and artistry: It's not just we-play-what-we-want, but knows about it the laws of effective musical dramaturgy. As far as it is committed to the "rock'n'roll subculture", as Nachtlieb put it in an interview, that one does not want to be "a junky frills culture".
Relatively unprecedented in Austria, this could possibly work well in the Viennese dialect - but singer / guitarist Daucocco alias Andreas Dauböck sets his life-savvy crook voice in the scene in an English that is just as little embarrassed by a very light accent as it is never at the other end in that border area slides into a parody, which for example made the very early Element Of Crime a bit annoying at times.
Rather, there is often an obsession that is reminiscent of great preachers of the blues. Nick Cave, Mark Lanegan or Tom Waits are named as influences for this music - partly to the amusement of the three actors; the fervent vocal intonation, the fat slide guitars and the dramatic exaggerations make you think of the Blackeyed Susans, a rather original Australian psycho-blues unit from the Triffids environment, which interestingly, despite its extremely limited global impact, has a certain fascination the advanced Austrian indie scene (see some pieces by the Black Palms Orchestra) seems to be exercising.
In addition, there is musical local color with an affinity to three-four time and sprinkling, which suggest a certain closeness to the music-cabaret tradition of the Viennese city, which is expressed right at the beginning of "Lion", but also in the playful "Zombie". There seems to be a cunning wink behind videos like the one about the choppy but furious "Blood River" finish. The untitled debut album by Dun Field Three, released this April on Noise Appeal Records, plays out these facets with a sovereignty that you can tell that nothing had to be rushed here.
That didn't mean anything settled, just concentration on neuralgic points: The thick, heavy rocker "Rosie" seems to be bursting with fervor. "Fade To Gray", on the other hand, proves - it is difficult to understand anything else than lucid irony - Reverenz the (almost) 80s hit of the same name. "Sandy Sandy Sandy" can not only be interpreted from the title as a pointer in the direction of the phenomenal album "Born Sandy Devotional" by the Triffids - rather, the authoritative and melodious singing of the unforgettable David McComb can actually be heard in Daucocco's voice.
The lyrics reflect exactly that peculiar hybrid of seriousness and mischievousness, which also characterizes the music and the appearance of the band. "Either you're with us or with the terrorists" is quoted in "Lion" ex-US President George W. Bush. In the end, one prepares for the return of the Savior - without a trace of sarcasm being discernible -: "I wanna be ready when Jesus comes."
The real power of the Dun Field Three, however, is said to be on the stage boards. You can see it for yourself next Sunday at Chelsea in Vienna.
Dun Field Three
(Noise Appeal Records)
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