review by David Hatton

‘Shadow Ministers’… I mean, how cool and nerdy and hard, and fantastically Canberran, is that band name!? Emerging from the depths of lock-down, this is the ACT’s newest and freshest instrumental dub/jazz outfit. It is the brainchild of bassist Liam O’Connell, alongside Matt Lustri on guitar, Joel Dreezer on keys/wind and Simon Milman behind the kit. The band represents another example of the talent that exists in our little town. The members comprise some of Canberra’s best and hardest working musicians, and you can hear it in the wash up. This band is tight.

Recently, the group dropped their first EP. This is a live recording from September 2020, captured during semi-lockdown at The Basement in Belconnen. It is amazing to consider that it was but their second live gig on stage. But you would never know it from the final product in your earholes; they have a very tidy presentation already. I guess this is what happens when a bunch of clever people, with sympathetic musical sensibilities, are plonked together to hang out and jam. The result is a selection of dancefloor fiyah and we can all be very happy for that. Go, the Canberra connection!

The EP opens with ‘Black and White’, a track filled with melodic flavour. As the bassline rolls it in, you know there is going to be some sick dub cut today. Indeed, the band finds the groove straight up, producing a sound that is tight and polished. Matt leads the charge with a sweet guitar melody awash with the reverby, dubby feel. It is then rounded out with a fantastic, funky solo from Joel on the keys and wah. It is a tune sure to have your head nodding in rhythmic approval. It sets the tone for the record, one of a darker, moodier vibe. A sound befitting the band name.

‘Felafel’ drops next. And drop hard it does, crikey what a banger! It is my favourite track on the EP. It elicits an emotion that makes me scrunch my face up just a little; ‘ohhh that’s naaasty, fuck yeah’. Simon bangs out on the kit a particularly phat break for this one. I really dig the driving hi-hat barks in each phrase, lending a rougher and more rugged sound. And Liam lays down a killer bassline in accompaniment. The weight of the drums and the bass is so critical in the dub, yet together these guys nail it. I find my bent towards the darker beats and bass flavours again pleasingly satiated.

Once more, the keys and guitar are fantastic. It is readily apparent that Joel and Matty have amazing chops on their respective instruments. The energy continues to rise throughout the track and, in the end, you are basically moshing. This is a massive choon, really deserving of the biggest soundsystem you have in your vicinity. It is the kind of track that should be followed by police sirens and air horns. Indeed, in the final seconds, we hear one resound from the audience. It is a noise likely familiar to regular Canberra party-goers.

‘Don’t Stay Away’ brings with it a change of scenery. This song is bit of a departure from the opening tracks and has an easy-going, upbeat reggae swing. Here, Joel sets aside the piano and hits us with some jazz flute. And he shows us he can also kill it with a wind instrument, just as he does on the keys. Another of the talented multi-instrumentalists to come out of the ANU jazz school. It is a playful melody atop a riddim that makes you bop.

Next we come to ‘Headcase’, a tune with a funky, rolling groove. It starts out cool and collected, but before long we are getting into some of that double-timey steppas feel that gives you the compulsion to dance. Joel and Matt get a large range of sounds out of the synth and guitar; instrumental replications of the heavy effects/electronics used, so commonly found in dub and its descendants. So, the quartet maintains a big sound and presence. The ending is a little uncertain. But it is a live recording of an incredibly young band, and these things happen. You know that they are going to just get tighter as they become more familiar with the songs.

‘Roothoppa’ continues the party vibe. This tune is loaded with the skank and it slays on the dancefloor. It cuts back to the essentials of the groove; the drums, the bass, the melodic stabs in the off beat. But it has a huge, chunky chorus and this brings with it heaps of energy. Yet again, we get some more sweet key solo to brighten everyones day. And the tune closes strong, where once more you might find yourself inclined to have a bit of a headbang. ‘Di tune yah bad’, as it might be said. An awesome song.

Then, out of nowhere, we cop one right in the nostalgias, oof. Yet ‘Glory Box’ is a great, dubbed-out version of this ever so familiar standard. It feels right that it is covered this way, as such, with dub being in many ways the granddaddy of trip-hop. It is somehow satisfying to experience it come full circle here. It is such a delicate song, it could easily have been a disaster. But, praise Selassie, Shadow Ministers really do justice to the original classic. Part way, Joel again picks up the flute for a solo, bringing a bright change in timbre. But Matty is the star of this track. He makes the guitar absolutely sing, with such fantastic soul and tone. You can feel Beth Gibbons channelling through his interpretation. It is a way cool mashup.

M.C. Tomasky joins the group to toast a little on the closing tune, ‘Angels’. Here is another song with the strong, uplifting reggae vibes. Tomasky has a rhyme and flavour that nicely compliments the band. It is just a fun jam; a nice way to close out a very enjoyable EP.

Overall, it is a recording with a big, open sound. Being recorded at the Basement, the group were performing on perhaps Canberra’s best sound system and it clearly makes a good environment for these sorts of record-making exercises. Joe Carra at Crystal Mastering gets a nice result in the mix. The sound is nicely balanced with a proportional lift in the bottom end, befitting the hard dubby sound. As live recordings go, it is lovely.

Do yourself a favour and cop yourself a copy of this Shadow Ministers EP. It is a sick wreckord, the perfect accompaniment for a summer sunset, and a showcase of the talent in the musicians of Canberra. The band plans to gig much more as Covid restrictions ease and the World starts to turn again. So be sure to keep your eye on the BMA Gig Guide and the Shadow Ministers Facebook page, so you can attend the next big tings a gwaan.