The Nature Strip, Past Pacific, 2018

EP Review

By Henry Lipput

It's been just about a year since Australia's The Nature Strip released their album Beetle Bones (one of my favorite albums of 2017). We now have their excellent EP Past Pacific.

Last year's album was the first one by The Nature Strip in which band members John Encarnacao (vocals, guitars, and occasional bass) and Pete Marley (vocals, bass, some guitars, and what's being called "heavenly transport" on the song "Just Like You Do") each contributed an equal amount of songs to a project. This happens again with Past Pacific.

The EP contains five original songs and a cover from 1981 by Models, a new wave band from Australia. The Nature Strip's "Atlantic Romantic" is a faithful version of the original right down to the cheesy 80s organ.

Encarnacao's "Push The Past Away" opens the EP with a synth riff that also recalls that decade but then bursts out into a full-speed rocker with some great drumming from Jess Ciampa and bass work from Marley. Marley brings the acoustic guitar-based gem about an old flame "Georgia's In Town" and its clever lyrics: "Georgia / Yeah, yeah, Georgia / All those torches I carry for ya" and "But what can I do? / This photo of you / It just won't leave my wallet."

But my two favorite songs on the EP are the ones written by both Encarnacao and Marley. "Just Like You Do" is a folk rock keeper not unlike what we've heard -- and loved -- recently from the band's country mates, the wonderful Fallon Cush (for whom Marley plays bass in the touring band and on recordings). There's some very fine keyboard work from Matt Langley on the track, and Marley's bass is in full McCartney mode.

And, if I had to choose just one standout track from Past Pacific, it would be the gorgeous, awesome "Store Of Tomorrows." I'm not sure what the song is about, but it just sounds so really good, which is due in no small part to the amazing cello playing from Anthea Cottee (who also provides backing vocals on the track).

Unfortunately for fans of The Nature Strip (and I've certainly become one), it's been nearly nine years since Encarnacao and Marley started the band and they're going to take a long break. There may be a couple of gigs before the end of the year, and they might get back together when the songwriters have enough new tunes for the band to record.

But all is not lost. Encarnacao has a solo record ready for early 2019, and Marley has something in the works, too, including continuing to work with Fallon Cush.

Past Pacific is out now on China Pig Records.

The Nature Strip, Beetle Bones, 2017

Album Review

By Henry Lipput

With a band name like The Nature Strip, you shouldn't be surprised that their songs are about, among other things, the ocean, insects, the moon, and the weather.

Beetle Bones is the third full-length album from this Australian band made up of John Encarnacao, Pete Marley, Jess Ciampa, and Matt Langley. It's the first one in which the songwriters Encarnacao and Marley each contribute an equal number of songs (they also co-wrote one of the tracks). The styles and arrangements are as different as the song subjects and include 1960s guitar jangle, psychedelia, new wave, and post-punk.

With the rocker "Tide Song," the album kicks off with a Mike Campbell-like riff (think "American Girl"). It's one of Encarnacao's songs; and you'd think that, along with his even crunchier "Hildegard and Winifred" later on the album, that this is the sound he brings to the album.

But right after "Tide Song," we have the acoustic pop gem, "Break Through," a terrific example of what Robert Forster of The Go-Betweens once called "that striped sunlight sound," on which, it seems, Australian bands have cornered the market.

Encarnacao's "Eyes Are Blinded" is a slow burner and another example of how The Nature Strip use musical elements from the past to create their own sounds. With a mix of "Got To Get You Into My Life" horns, Middle Eastern-sounding organ fills, and a great lead guitar solo as the track winds down, "Eyes Are Blinded" is a song that encourages repeat listens. And his "Broken Leg" could have been a solo Sid Barrett track.

Marley's songs are just as wide-ranging in subject and style. "Waterfall" is a splendid mid-tempo number with a great vintage 60s organ as part of the mix. I really like his description of being inside the watery veil: "Staring out through sparking raindrops / Waterfall is crushing me."

His "Peace And Light" swings and is a wonderful showcase for his bass playing (he plays bass on the new Fallon Cush album, Morning, and has also been part of that band's touring ensemble). "Peace And Light" also features some amazing drumming in the extended instrumental break. "Inside Voice" combines the sounds of new wave and Crowded House to create something new and extremely catchy. Marley's "Supermoon," which closes the album, is a fine example of gorgeous pop craftsmanship and contains jangly guitars and a marvelous melody.

Beetle Bones is out now on China Pig Records.