As a man who once said the best hangover food was “two dexies and a Bloody Mary,” Peter Bibby has certainly earned a reputation for being a little different. Maybe even a little quirky. He certainly isn't your X-Factor material. However, I would like to see what he would say to people like Simon Cowell.
Most of that reputation was due to Bibby's excessive drinking and chemicals. That was then, but this is now. Bibby has embraced sobriety and drama king reflects his evolution from a hard-partying prankster to a more enlightened and mature guy who now understands when enough is enough. Does this change in lifestyle and attitude detract from Bibby's creative talent? Not if the album's first track has anything to do with it.
'The Arsehole' is a great rock music wedge, extolling stories of excess and the overconfidence that comes with it. Soon into the opening song, we get a raw and unpolished look at the man behind the music. Observing the night scene of a local bar with increasingly drunken eyes, Bibby brutally declares: “No one seems to want to talk to me because I'm probably the idiot.”. There's no attempt to put lipstick on a pig here, Bibby acknowledges her past behavior with savage honesty.
Changing the narrative, “Fun Guy” is pure riff-driven punk that attacks you for three and a half minutes. Bibby concentrates on his epiphany that things must change as he frowns: “These meetings do nothing for me/I have better things to do with my energy.“Judging by the furious nature of this track, it certainly has a lot of energy to use.
Calming down a bit, Bibby delivers a melodic rock ballad on 'Bin Boy'. A beautiful sixties sounding organ bubbles beneath the guitars to give the track a rich and fabulous sound. Bibby seems to be compared to a dumpster, allowing people to throw their troubles and troubles inside. Or maybe she just has a real affinity for them.
Moving on to 90s indie-rock and one of the most radio-friendly tracks on drama king, 'The One' is a lovely mix of piercing guitars and driving rhythm, layered with Bibby's deep vocals, the song has a trippy feel. This may have been intentional, as it seems to highlight her relationship with drink and drugs. “I always get attached/And I always let go/I really should use some tact/And stop thinking she's the one.” Bibby sings, acknowledging a growing one-sided relationship.
'Bruno' reminds me a little of early REM, and Bibby's voice reminds me of Wreckless Eric. “He has no idea/And he has no where to get it.” Bibby growls as he describes the mysterious Bruno, whom he also calls a piece of shit. I'm curious to know who this guy is, but I don't think I'd want to meet him.
From Eric to Robert, Bibby channels his inner Bob Dylan on the song 'Baby Squid'. The song starts out as a slow, heavy ballad, but finds its punk core halfway through and comes to life. Realizing that she was broke, Bibby explains that the motivation for the song came after getting mixed up at a party with her next-door neighbor. “They were at least twice my age and were doing all kinds of weird things.” Bibby says. “The loud part is like pining for a girl he was probably breaking up with in the middle of all this drunken behavior.”
Possibly the most beautiful song on the album, 'Terracotta Brick' is a song steeped in Americana. A compassionate and sincere lament for an honest merchant, the anonymous backbone of society. Bibby claims that she was inspired to write the song while she was working as a bricklayer. “I got one or two direct quotes from the boss, he was full of great quotes. He also urinated regularly, which made me think about the connection between the construction industry and notorious alcoholism.” he exposes. He absolutely pulls it off, luring you into that world or working hard and partying harder, often to escape the daily grind of working hard. Bright.
'Turtle in the Sand' is a 3/4 time rock ballad that would have been very at home on Dylan's 1966 album. Blonde on blonde. In an exploration of a bitter relationship breakup, Bibby sounds like she's losing control, completely distraught over what happened. If you fancy the feeling of dizziness, then 'Feels' is the song for you. The song is driven by a juicy, shaky guitar riff. Imagine a punk version of 'Mr Soft' by Steve Harley and Cockney Rebel sung by Jake Burns of Stiff Little Fingers. A strange description, I know, but accurate in my opinion.
Keeping the pace fast, 'The Pricks' picks up an energetic pace as Bibby screams at you. When describing one of the characters in the song, Little Georgie, Bibby describes him as “It sounds like a trumpet with a wig.”. That just tickles me. I always had a strange sense of humor.
We go all out country for 'Old DC', as slide guitars swirl and sweep across Bibby's vocals. “And all my dreams are fading/Without faces and names/I'm getting tired of this/But you can't teach an old dog new tricks, oh” Bibby proclaims, with a hint of frustration and anguish in his voice. Another introspective number that is enhanced by the fantastic instrumentation of the Big Horse Band, Bibby's latest musical ensemble.
Speaking of horses, the album concludes with its longest track, 'Companion Pony'. When telling the story of a racehorse who decides that he's had enough of being used and abused for the benefit and amusement of others, he bursts out and “He takes his big old hooves and stomps on the player's back.”. “The riders did not avoid the tumult like the horse.”I told them why”. The horse gets freedom from it and wants a companion to help keep it safe and free.
While the story works on its own as an idea, it's also a metaphor for breaking free and not putting up with people's shit anymore. Be yourself. Live your life. Execute free boys and girls. Musically, it's a slow crescendo of echoing guitars, punctuated drums, piano, strings and vocals as the song goes from a trot to a gallop before breaking into a strong gallop at the end. A wonderful way to end the album.
I had never heard of Peter Bibby before listening drama king. I'm glad I had the opportunity to meet him. This album jumps between musical styles, but as a result it doesn't feel confusing or contrived. Dan Luscombe, known for his work with The Drones and Amyl and the Sniffers, worked with Bibby for the first time on this recording and has done an excellent job. This is Bibby's fourth album and it feels taut, forceful and mature. It tackles some dark stuff throughout these twelve tracks, but with a cheeky sense of fun sticking its nose into the proceedings when necessary.
But why is the album called? drama king? I'll let Bibby explain. “Everyone uses the term 'drama queen,' even regardless of gender. I was thinking that it's a little unfair to queens that they're always called 'drama queens'. With a big smile, he adds: “I find Drama King to be an awakening title.”
If, like me, you haven't come across Bibby's work before, this unique and intriguing Australian troubadour is worth exploring.
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