The Young Heretics are the brainchild of husband and wife, twins, partners-in-crime (their relationship is currently pre White Stripes-esque undefined) of Matthew Wright (of Getaway Plan fame) and Kitty Hart. The Melbourne duo’s debut album We Are the Lost Loves is currently garnering airplay across the country and it’s easy to see why. The album is somewhat of a cross-point between two prevailing musical trends; there’s one half indie / electro / synths mish-mashed with the increasingly popular ‘Americana’-style folk. No wonder there’s promise. They’re double dipping.
‘Animal War’ kicks off proceedings with its sheer leering quality, tempering prophetically: “I wish I could give you something worth fighting for”. Something out of a Mount Leura retreat textbook, one could say. Title track and album stand out ‘Lost Loves’ begins the sonic assault on the senses. Sweeping distilled guitar work forces the rhythm up a beat or two and cajoles fireballs of prodded lyrical emotion. ‘Risk/Loss’ is almost ‘Lost Loves Part 2’ dragging out the metaphorical journey of longing, coupling itself with bouncing instrumentation.
And then the breakdown occurs. ‘Dark Prince’ and ‘Noah’s Ark’ brings out the softer touches in the Young Heretics lyrical and percussion repertoire. Matt’s steady backing vocals contrast nicely with that of the more emotive Hart. However, it may contrast a little too far. In ‘I Know I’m A Wolf’ I would suggest Wright should stay in his backing vocal duties; his leading vocals come off a little too polished, a little too Australia Idol like. Only airport announcers should be worried.
The middle tracks seem to take out a leaf out of Muse’s catalogue, especially The Resistance with its grandiose vocalising and stylised piano offerings. The sky reaching and animal references continue with ‘Bones of a Rabbit’, whilst ‘Come Together’ is a perfect vehicle for Hart’s soaring voice, and as with every album closer, ‘Trapperkeeper’ could be substituted or mistaken for an album opener (which inadvertently I managed somehow).
Overall a hugely vociferous and deeply infectious debut from the Melbourne band. Their original sonic atmosphere is balanced nicely by the duo’s varied musical instrumental attack. In modern contemporary terms, it has the dynamic structure of Angus and Julia Stone and the eclectic variety of Arcade Fire, driven by the pulsating ambition of Muse. Forget double-dipping, this is a new flavour. And it’s good.