Bastard Club Osnabrück
(...) The Unconditional’ is an unabashed, lovable anthem to Scott’s young daughter, “a beautiful creature, who I helped to grow”, who’s “getting older, she’s now telling me what to do”. “I got kind of nervous writing those lyrics,” admits Scott, with a chuckle. “But everyone’s got to write a song about their kids, right? It’s me trying to be like Van Morrison writing about his kids.” ‘Angel Eyes’, meanwhile, is a salute to lost friends and comrades, poignant but upbeat, and affectionately commemorating fallen bandmate Minwalla – “Little D, such a good friend to me / those rosy cheeks that girls could not deny” – in its third verse. The closing title-track – an unforgettable blast of proggy-post punk, with its infectious chant of “Doris!”, and clattering drums from Shudder To Think drummer Adam Wade, inspired by a real-life Doris, the elderly landlady of a bar Scott frequented in Sydney – closes with a goofy vignette narrated by Minwalla, ending on a haunting note.
“I guess I’ve been writing songs for a while now,” reflects Scott on his second album. “I like hearing echoes of things I love in the music that I make. Writing music doesn’t come easy to me – it’s hard to write a song that’s good. But our memories slowly escape us as we get older, and in songs you kind of relive those moments, the things that matter.” And that’s part of the key to Doris and The Daggers’ charm, along with the lyrical wit and Scott’s unerring knack for tuneage as embraceably familiar as a beloved sweater: that these songs are full of life, stories engagingly told, and a sense of affection for everything that happens within them. You’ll keep returning to them again and again, and hope that Scott doesn’t wait so long to cut his next batch.