The Goon Sax give a sophisticated twist to Australian indie rock on We’re Not Talking | Concert Preview | Chicago Reader

The Goon Sax give a sophisticated twist to Australian indie rock on We’re Not Talking 

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click to enlarge Goon Sax

Goon Sax

Ben O'Connor

I’m starting to wonder whether Australia has ever produced a bad band. One of the latest crews of Aussies to catch the attention and affection of American indie-rock lovers are the Goon Sax, a trio of teens from Brisbane cofronted by multi-instrumentalist Louis Foster, the son of Go-Betweens founder Robert Foster (which proves that the ability to make perfect jangle-pop can and does run in families). On the brand-new We’re Not Talking (Chapter Music), the Goon Sax play slacker rock with breezy rhythms and the speak-sing storyteller vocal style favored by their Australian peers. The band hashed out that combination on their 2016 debut, Upto Anything, but on We’re Not Talking they take a huge step forward, filling out their sound with horns and keys and adding layers of sophistication to their melodies and arrangements. Drummer and singer Riley Jones seems to have found her voice over the past couple of years; she contributes lead vocals to “Strange Light” and album closer “Til the End” as well as the magical harmonies all over the album. Their presence adds a warm, moving human element to the the band’s otherwise disinterested energy.   v

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