SIZE OF THE OCEAN
Ozmusic Project, www.ozmusicproject.net
Big Heavy Stuff are perfectionists, and nothing says this more than the story behind their long awaited third LP Size of the Ocean. The whole process took over two years, involving record label problems, finding the right producer (Wayne Connolly) and a name change (it was previously titled Commercial Sadness).
Arguably Big Heavy Stuff's best work to date, Size of the Ocean is sure to please their established fanbase and convert a fair few others. The band have grown from the ambitious jangly pop of Truck and the critically acclaimed Maximum Sincere of 1997 to produce an album that stands on its own ground.
The LP is a solid wall of sound, bestial at times and melodic at others. Greg Atkinson's voice is a beast in itself, with the ability to revert from crooning beautiful melodies of tracks like Redhead, to the rrrroar of Forever Sighs the Ocean and Hank. Guitarist Carolyn Polley dabbles in more vocals on this release and her voice provides a sweet delicate foil to Atkinson's. The rhythm section is amazingly succint, with Eliot Fish's monster basslines and Nick Kennedy's drumming holding the whole sound together.
Wayne Connolly's pop/rock influence is apparent in Size with songs like Wide Eyed and Open but its Big Heavy Stuff's signature dark moody songs that shines through on this album, making songs like the Freaks In The Circus, Laughing Boy and the debut single Devil's Tongue stand out from the rest.
Atkinson's lyrics once again shines out, the bands's tribute to former radio announcer Helen Razor starts off with an ironic "Using Helen's Razor, never again, She just slices the blade and says be my guest."
The album doesn't end with a bang like you would expect, instead it fades out quietly with acoustic ballad Bye the Blue Sky. It leaves Size of the Ocean with a sparsely open feel while still managing to contain the beast inside.
Drum Media, March 20, 2001
For whatever reason, Big Heavy Stuff's truly magnificent Maximum Sincere album has taken four years to follow up. I think we all (including the band) probably got sick of asking 'why?'.
But finally, Size Of The Ocean gets here. And thankfully, all the things that makes this so under-rated band so very good are intact. Greg Atkinson and Carolyn Polley's guitars still shard at each other at skewed angles (though perhaps with a bit more restraint on this), while Nick Kennedy's drums and Eliot Fish's bass hold it on line, by often taking at angles of their own.
And Greg's voice remins a so-human plaintive call among the sometimes squall of it. And the words still range from the longingly romantic, like You Send Me's "she showed me the luminous light/ and I surrendered" to the bleak and/or oblique: "They're new to bi-polar/ And sulphuric acid tongues/ They know about Jesus/ And sexual misconduct/ And ruthless father's sons" (Two Sisters). They are songs through a cracked mirror, reflecting back sometimes disturbing broken images, that sometimes make perfect sense, and sometimes maybe never will.
I said 'restraint' before, 'focus' is probably a better word. For while those moments when the guitars overflowed into the abyss - which I hope they can still allow themselves to do in the live environment, and come close to on this record, as in the bent surf rumble of Forever Sighs The Ocean - having Wayne Connolly as producer makes the noise sit in place a little better, or at least have a reason for being.
There are moments when the songs are immediately arresting. Pop with intelligence. Like Devil's Tongue or the 'wake up to yourself' shove of Laughing Boy. But, having listened to the album only a handful of times before writing this, there's the feeling that you'll be finding bright corners and more hidden nuances the more you immerse yourself in it. Even now I know this will be a record I'll keep coming back to over time, and will most likely be even more impressed by as I get to know it better. Herewith pronounced excellent. Go listen.
ROSS CLELLAND
Rolling Stone Australia, May 2001
3 stars
The Stuff in question takes its gravity not so much from form these days, but from content. The Sydney quartet's long absence since 1997's Maximum Sincere has found them nurturing restraint, their second strongest asset here after Greg Atkinson's lyrics of longing and loathing. Only "Forever Sighs The Ocean" bludgeons its point; elsewhere the intriguing word collages are allowed to brethe and conjure wonderfully familiar feelings ("Hibernate", "Bye The Blue Sky") and even people ("Helen's Razor"). Not every tune rattles the ribcage as surely as "Redhead", but while indie rock's front line measures its impact in firepower, Big Heavy Stuff make a good argument for holding your powder dry.
MICHAEL DWYER
Time Off magazine, March 28 - April 3, 2001
4½ stars
"A series of delays has kept Size of the Ocean at sea for 18 months, but as the old adage goes, good things come to those who wait. Good things, indeed.
Size of the Ocean perfectly captures Big Heavy Stuff's quiddity, courtesy of producer Wayne Connolly. While Maximum Sincere went part of the way, this is BHS at their most precise and pristine.
From the gorgeous opener "Hibernate" - where Greg Atkinson, guitar and a few keys make the sum of the parts - through to the singles "Devil's Tongue" and "Two Sisters", there's ear candy aplenty.
The likes of "Redhead", the beautiful "Wide Eyed and Open" and "Helen's Razor" showcase a lusher, tempered BHS, but fans of their old, more acerbic guitar numbers should find joys in the likes of "Hank" and "Forever Sighs The Ocean".
Size of the Ocean hasn't been off the stereo since it lobbed into the office. Yes, it's that good. It's a tsunami that's sure to bowl you over."
MATT CONNERS
Esky magazine, May 2001
4 stars
Something for Kate have their old Rivals back at last
Big Heavy Stuff - at one point the brightest hope for 'intelligent' rock
in Australia - have been absent from the music circuit for the last 18 or so
months. Fortunately for old fans they have just returned with an album as
impeccable as their fine history warrants. From the rollicking acoustic
opener "Hibernate" to the casually caustic "Hank", Size Of The Ocean
offers a diverse, mature collection of tunes, the quality of which surpasses
anything BHS have ever produced. And they grow better with repeated
listening.
The Buzz, www.ozonline.com.au/buzz
4 stars
Some bands - see: Killing Heidi - get all the luck, they write half-baked songs then get a producer to do the rest. Big Heavy Stuff are at a polar opposite to such luck laden acts - this album has been recorded for, literally, years, however, owing to stupidity in music circles, no label wanted to release it until now. Thankfully it finds it’s way into the CD players of the loyal fans courtesy of the new label set up by Jebediah’s manager. Upon insertion, the listener will find a more restrained Big Heavy Stuff, toning back the angst and bravado of hits May and Big Mouth from the last record in order to produce thoroughly affecting ballads. That’s not to say they’ve forgotten how to rock - it turns up here, but it’s in smaller doses. For the most part though, we’re treated to the soothing voice of Greg Atkinson pleading over the top of mid-paced indie rock. Powderfinger should take notes on how Big Heavy Stuff make their music mid-paced AND interesting - no fear of music induced slumber from this disc, same can’t be said for those ‘modern rock’ bores from up Queensland way.
BEN GOOK