What do you get when you combine two iconic, era-defining front men who together account for nine number-one albums, millions of record sales and a staggering 38 songs in Triple J’s Hottest 100? Well, mostly the answer is a question: Why didn’t this happen sooner?
The real answer to that question though, is Fanning Dempsey National Park, the collaborative project between Bernard Fanning of Powderfinger and Paul Dempsey, lead singer of Something for Kate. Their first LP under the new moniker, The Deluge (out now via Dew Process/Universal), is a 10-track journey through largely unexplored musical territory that long-time listeners of both bands will find both surprising and incredibly exciting.
From the outset, both artists agreed that The Deluge wouldn’t be what people expect, and there is always a risk when artists intentionally go to abstract places and seek success in other genres. This album however, isn’t just different for the sake of being different, and despite drifting from their respective traditional sounds, Fanning and Dempsey retain the strong hooks and tight songwriting that made them household names.
Opening the album is the synth-heavy, polyphonic-drenched title track “The Deluge.” Reminiscent of Kraftwerk and David Bowie (an album theme), it’s also distinctively modern and undeniably groovy. A clear declaration to move away from the guitar-centric rock both front men have perfected, they provide an equally infectious, fun, and rambunctious 70s-80s vibe that sets the tone for the rest of the album.
“Born Expecting” follows with groovy delayed guitars and subtle shared vocals. The chorus feels like a page from both singers’ rock playbooks, but unending comparisons to their former work, no matter how inevitable, ultimately reduce the uniqueness that surrounds this track. With a hugely catchy chrous, the song is drenched in cool synths, strings, and echoing guitar chords. The controlled chaos of the synth solos feels like an 80s arcade machine’s soundtrack gone rogue, and it’s rad. Both Fanning and Dempsey jumping into their respective verses here highlight how cool it is that these two artists are together on a project, especially since they absolutely, 100% nailed it so far.
Third track and the album’s lead single, “Disconnect,” begins with soft piano accompanied by a swelling, tweeting pad circling below. Both singers belt through the intro before slamming the accelerator into a full-tilt 80s-styled synth-pop bop. Caught somewhere between David Bowie, E-Street/Springsteen-styled saxophones, and vague sprinkles of Hall and Oates, it’s no surprise that this endearing, catchy tune made it as a single. Destined to be belted back at the duo in venues across Australia, this one will get the punters on their feet.
“Eyes Wide Open,” the fourth song, is one of the first moody tunes, played parallel to cinematic synthesizers that feel equally cliché but incredibly right. The contradiction is integral to the whole homage and 80s pastiche that form the inspiration and bulk of the record’s production thus far. “Blood” follows, inspired by a line in Sophie Taylor Price’s speech at Bob Hawke’s funeral. It carries the message of both the pain of obligation and the embrace of love and connection through family. Summed up by the chorus line “My blood is your blood, my stories are yours. These are the moments we’ve been waiting on,” the songwriting here is sharp and inspired.
“Never Pass This Way Again” is a punchier offering that jumps out of the speakers following the subdued “Blood.” Another 80s-styled track with an enthusiastically present bass and reverb-drenched drums, the verses give way to a more sensitive, acoustic rock-styled chorus. The contrast makes for something interesting, almost stitching two different songs together. This is also more pronounced by the shared vocals that separate the sections.
Entering the last quarter of the album, “Strangers” is a short and sweet disco number with crooning vocal performances and a trademark chorus that, while not the most memorable of the album’s track list, certainly holds up. “Past Tomorrow” follows with a dancey, vibing mixture of chorusy guitars and thumping drums and bass. A toe-tapping, head-bop-inducer, this one borrows some of whatever “Blinding Lights” by The Weeknd has. Making that connection is still quite a trip when thinking of the output of both men putting their vocals to these tracks. It’s such an oddity to hear Fanning and Dempsey producing tunes that sound like lead singles from an a-ha album.
“Dunning Kruger National Park” is more biting in its commentary, with lines like “The slow news survivors, they’re all fact-checked freedom fighters. Mr. Dunning, Mr. Kruger, you’ve been voted off the island.” I greatly appreciate the play on words with the famous South African national park and the Dunning-Kruger effect (where people with limited knowledge overestimate their own ability), possibly inspiring the band’s name.
“King of Nowhere” rounds out the album with a more sullen and reflective moody tune. Probably one of my favorites because I’m a sad sack, the lyrics are really great on this one. Lines like “If love is the armor, our silent resistance, our one place of refuge in a world of indifference. Love is the harbor, unbreakable shelter as we bend the arc toward love” hit hard and remind us of the caliber of output the two leads can conjure up.
Given that these two songwriters defined much of the Australian rock scene in the early 2000s—most of which you still hear on the radio today—there was bound to be heavy expectation on this release. Meeting and exceeding those expectations, The Deluge proves that the pairing of these two stars is far more than just an oddity or a gimmick. The album demonstrates that a journey through Fanning Dempsey National Park is certainly worth the inflated giftshop price for the postcard and postage home.
From the opening tracks, there’s an evident musical energy between Fanning and Dempsey. Their chemistry leaps out of the speakers, suggesting both artists caught a creative spark and chased it down into a wildfire. It’s a justified union that produces an unlikely harmony in songcraft and performance. While tinged with hints of Aussie alt-rock, the album feels like both artists were set free in a synthesizer store and decided to buy the place. The familiar elements of individual styles mixed with a touch of synthesizer pop is like having a Jack and Coke in a German Krautrock bar. Those surprising influences and creative license to drive a synth-pop wave help Fanning and Dempsey reinvent themselves, potentially increasing their already pristine musical reputation in the process.
Oddly, this album may appeal more to those who aren’t fans of Powderfinger or Something for Kate. If you’re a die-hard rock and roll enthusiast, you might find yourself wanting more of that traditional sound. If you can get past that though, the album is mostly just really, really fun. Clearly unburdened by seeking to replicate or surpass their past bodies of work, the significant shift away from both artist’s hit-making wheelhouse works better than it has any right to. There’s a clear movement into something unique for both singers, but with enough restraint to avoid going off track.
The album does maintain a similar vibe throughout, with heavy synths and an 80s sound dominating the landscape. While this could be monotonous, the strong songwriting and production save it from becoming a bog whose pastiche and homage are the only redeeming features. A touch more variety would have been welcome, but it’s clear the artists had a specific concept in mind, and they hit their target. Ultimately, what it’s going for it gets right.
The Deluge is a simultaneous throwback in both genre and concept, with modern production, songwriting and instrumentation that keep it fresh and exciting. While crafting an album that not only pays homage to their musical influences but also boldly carves out new territory for themselves, Fanning and Dempsey provide an exclamation mark on an already stellar run while finding another standout moment in their already illustrious careers.
FOUR STARS (OUT OF FIVE)
The Deluge is out now. Grab it HERE
Catch the The Deluge 2024 National Tour at selected dates below:
Fri 11 Oct • Fortitude Music Hall • Brisbane • SOLD OUT – Get Tickets
Fri 18 Oct • Hindley Music Street Hall • Adelaide – Get Tickets
Sat 19 Oct • Forum • Melbourne • SOLD OUT – Get Tickets
SUN 20 Oct • Forum • Melbourne – Get Tickets
THU 31 OCT • Astor Theatre • Perth – Get Tickets
Fri 01 Nov • Astor Theatre • Perth • SOLD OUT – Get Tickets
SAT 09 Nov • The tivoli • BRISBANE – Get Tickets
