Reviewed by Null and SoDak
“If I can’t dance, I don’t want to be part of your revolution.”
—Emma Goldman
Much like the recent scientific reports about global climate change, there has been little attention given the new Midnight Oil record Resist. It is their first proper album in 20 years, when they went on hiatus following the release of Capricornia. In between, they did a random gig here and there, until they fully reformed for a world tour in 2017. The two of us were lucky enough to see them on that tour, fulfilling a long-time wish, as we are both lifetime fans of the band. The show was amazing. We were moved to dance and sing the whole set, occasionally shedding some tears. Their music does this, uplifting us, while hitting our hearts. It is quite remarkable. Fortunately, the tour inspired the band to record new music. They started by putting out a collaborative EP, The Makarrata Project (2020), and then delivered the full-length Resist in February 2022.
The Oils have always been a pretty consistent band. Yes, their sound fluctuates some between albums, but they are almost always catchy, instantly recognizable, given their sound and the vocals, and political, particularly when it comes to environmental issues, indigenous rights, and a critique of colonialism. We still get chills and goosebumps when listening to all of their records. There are so many songs that are often running through our heads, such as “Outside World,” “Short Memory,” “US Forces,” and “Power and the Passion,” and those are just from one record from the early 1980s. Thus, there is often some hesitancy when a defining band releases a new record, only because it is hard to come back after twenty years and to make an album that is urgent and sonically propulsive, which in turn is also as beautifully delicate as their legend demands. Yet, the Oils fully delivered. They came roaring back with one of their greatest records. We are still marveling at the excellence of these songs.
Resist is a phenomenal album in which each member of the band brings their A-game. It is a distillation of everything great about the band: the anger and guitar-driven punk urgency of their early years, the bass and drum propulsion of their middle period, and the acoustic strumming and tenderness of their classic album Breathe (1996). The emotional journey, created by the music alone, is truly stunning. The bass and drums are often hypnotic, at times they are foreboding, complementing the lyrics that speak to the climate emergency. At other points, the music swells hinting at the possible rising, an emerging revolution that needs to create a new world, beyond the nightmare of global capitalism.
Upon first listen, it is astonishing how young and vibrant the band sounds. The Oils are not standing on their laurels or taking a moment for granted. The production is warm and gut punching; the lyrics are filled with hope and vitriol. The Oils are not sidestepping the climate crisis or playing nice with the powers that dominate the planet. They are grabbing industrial capital and one percenters by the throat, marking the lines for battle.
The opening track, “Rising Seas,” begins as a mournful epitaph before it kicks into classic Oils rock. It starts, “Every child put down your toys / And come inside to sleep / We have to look you in the eye and say we sold you cheap / Let us confess / We did not act / With serious urgency / So open up the floodgates / To the rising seas.” With these lines, we sit contemplating the seriousness of the moment and implications that are continuing to play out in everyday life, as the world is on fire, as depicted on the back cover of the record. A minute into the song, the guitar, bass, and drum lock-in, powerfully driving the song forward. We crack up the volume, feeling the power. We start doing involuntary Peter Garret angular dance moves, as he sings about the “temperature rising,” “climate denying,” and “Wall Street…jumping” as profits are climbing. It is almost too much tension by the time the chorus kicks in “We’re all refugees / And in many countries they adore celebrities.”
The second track, “The Barka-Darling River,” begins with a killer guitar riff, reminding us that the Oils have always been a punk rock band. We turn the volume up louder. The windows of the house are shaking. Peter sings, “Standing in the house of the founding fathers / It’s a house that has not been well looked after / There’s a fatal flaw in the mighty rafters / There’s a rule of law, written by the cotton masters.” These lyrics are so profound, lingering in relation to a song that seriously rocks. Then the song takes a sudden turn toward a torch-waving ballad, as Peter sings, “Who left the bag of idiots open? / Who drank the bottle of bad ideas? / Who drew the last drop from the bottom? / Good people are forgotten.” We are reminded that we are part of a long, serious struggle: “Let’s shake some truth out of the jar / Let’s kick some crooks out of the kitchen.” The song ends with a refrain, with strumming guitars, a delicate piano part, and rising voices, focused on remembering all the nameless folks throughout history who have struggled and died in the hope of making the world a better, and saner, place.
Resist continues in this same vein, moving back and forth between tender melodies as odes to a fragile world to propulsive and urgent rockers. Often these two elements find a home in the same song. The personal and political are often intertwined, reminding us of how beautiful and fleeting our lives are. “Tarkine” offers a touching memory regarding a disappearing forest, which once provided refuge and solace.
“At the Time of Writing” starts with a saxophone accompanying a driving guitar line, creating an ominous feeling. By the time the chorus arrives, we have goosebumps, as we sing, “At the time of writing we were in our heads / At the time of writing we are good as dead.” This song stands beside “Forgotten Years” and “Dead Heart” as far as a classic anthemic chorus by the Oils. The words are rhythmic, reflecting on the tendency to distance oneself from responsibility. It eerily captures our current moment.
The record is filled with killer riffs and bone-chilling lyrics. Much like New Model Army, the songs simultaneously hold a mirror up to the bleak reality, while also creating a spark of hope, a light, in a darkening world. In the rockin’ song “Nobody’s Child,” Garrett sings, “Beauty, love and compassion / Spread it everywhere / ‘Cause nothing else will do.” Near the end of this track, he pushes his vocals to a point where he almost sounds like he is desperately screaming. It is quite moving.
Jim Moginie, who plays guitar, keys, and sings background, writes some of the most biting lyrics on the record. The song “Reef,” about the global demise of coral reefs, opens with, “We’ve got the green light / We’re gonna dynamite / A world heritage site / Scientific recourse / Try to keep them so short / Hey, never read the details / Says it needs protection / But we’ve got elections / Coal-fired erections / We’re gonna make it pay / We’ll do it our way / So how about a railway.” He captures how capital is driving the extraction of coal for power plants simply to expand profits, while “trashing our ecology” and imposing “environmental injury.” The needs of capital exist in complete contradiction to what is required for a sustainable society. As Karl Marx emphasized, “Even an entire society, a nation, or all simultaneously existing societies taken together, are not owners of the earth.” He stressed that human society must preserve the conditions that support life as good heads of the household in order to bequeath the earth to “successive generations.” On “To the Ends of the Earth,” the opening lyrics are, “People of the world rise up / We have been unconscious for too long / Every creature drinks from the same cup.” This haunting song warns that we are “Canaries in a fossil fuel gumbo / 450 parts per million CO2 / Industry can’t give you a clean bill of health / Politics has sold its soul by stealth.” Despite the threat, the Oils stress that “we seek a new creed” in this shared history, where we will fight until the ends of the earth for a new future.
Continuing with this theme of struggle and resistance, Jim writes in the tension-filled title track, “Putting flowers into guns / This is not the summer of love… / Free market and labour rights / women’s vote and hunger strikes.” As the old folk song pronounced, “There is power in a union,” in this case a global movement against capital and its war on people and the earth.
Every song is filled with memorable melodies, urgent and dramatic emotions, and insightful lyrics. This is truly an album for our times. Listen to this record, with lyrics in hand. The Oils directly speak to what so many of us are thinking. As Emma Goldman noted, the revolution is also about embracing life and joy. The Oils capture this beautiful, this power, while also honing our sights on the powers that be, as a social revolution is absolutely necessary. This record is one of the timeliest and most important albums the Oils have made, by a band that has consistently accomplished this task time after time. We wish many other artists could accomplish similar things on this front. The Oils are on a mission. Resist is a masterpiece. Sing, dance, and engage in the struggle. The time is now.
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