ALBUM REVIEW: Drama King – Peter Bibby
PETER BIBBY‘s fourth full-length album Drama King is a reflection on his own personal growth, transforming from a hard-partying prankster to a much more mature and responsible individual. Combining this with his raw, punk-esque vibes, Drama King is a clash of identities, with its musical style covering everything from country to punk, Americana to folk.
The album kicks off with The Arsehole, a track that captures Bibby doing some self-reflection on his past self, insinuating over-confidence and general arseholery. This track sets the tone for an album that doesn’t shy away from confronting the darker aspects of Bibby’s life, all while maintaining a sense of humour and authenticity that’s ever-prominent in BIBBY’s work.
Fun Guy is a standout track, teeming with big punk vibes that are more present here than anywhere else on the album. It delves into the idea that Bibby’s past lifestyle was unsustainable, as well as the societal expectation that excessive drinking and partying equates to being fun. In the track, Bibby seemingly has some newfound clarity on the topic, and is determined to move past constantly being the “fun guy” who always takes drinking too far.
Bin Boy is an incredible take, where Bibby is speaking from the perspective of a bin. It might sound ridiculous up front, but with an electric guitar solo and Carla Geneve’s vocals adding depth and beauty, this track is more than just its quirky premise and quickly becomes some critical commentary on the feeling of being discarded and undervalued. From here, The One brings some more indie rock to the album, with piercing guitars and Bibby’s gravelly vocals exploring his tumultuous relationship with substance abuse. The lyrics “I should really use some tact and stop thinking she’s the one,” suggest a struggle with dependency and the dismal consequences that follow. It echoes a very similar struggle for many, highlighting this idea that Bibby can’t stop his feelings for the substances that are doing him so wrong.
Bruno channels a polished BRUCE SPRINGSTEEN sound, featuring keys and backing vocals that complement but completely contrast with Bibby’s rough vocals. Throughout the album, this is something that works in Bibby’s favour. His vocals are naturally rough and raw, while the musical production underneath is often so polished. Sometimes this can sound clashy and harsh, but for Bibby, it works.
Terracotta Brick is a heartfelt lament from the perspective of a tradesperson. Inspired by Bibby’s time as a bricklayer’s labourer, the track explores the relationship between the building industry and accepted alcoholism. With Americana influences, Terracotta Brick is naturally authentic, with Bibby narrating the life of an everyday, hardworking individual who finds comfort in drinking.
The Pricks combines an energetic rhythm with a string arrangement, continuing the album’s ever-evident Americana feel. Despite his Australian roots and distinct accent, Bibby successfully merges these influences to create a sound that feels both familiar and uniquely his own. The album concludes with Old DC and Companion Pony. The former is a bittersweet country ballad, while the latter tells the story of a racehorse seeking freedom from exploitation. Companion Pony is the ideal finisher, featuring echoing guitars and pounding drums, as well as lyricism that perfectly encapsulates the album’s main overarching theme of breaking free from past constraints.
Overall, Drama King is a wild journey that does a wonderful job of showcasing PETER BIBBY’s personal evolution through both metaphors and direct hits. The album’s rawness combined with its diverse influences might make it sound comedic at times, but after digging a little deeper, it’s much more than that.
Rating: 7/10
Drama King is out now via Spinning Top Records.
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