- DMA'S Sydney sound (via Britain in the mid '90s) is a breath of fresh air at a moment when over-produced, hot-mastered, bleepy bedroom musos seem to populate mainstream airwaves. DMA's write songs and tunes on instruments! This, their second studio album is more of the same as a follow on from 2016 debut Hills End; but that is great news for eager fans, when the band's mastery of swirling pop numbers is so strong.
DMA’S use acoustic guitars frequently, which gives a folk-rock tinge that helps gel their influences into a cohesive, radio-friendly sound they can own. A song like the eponymous For Now has undertones of the Stone Roses and overtones of the Charlatans but when listening to the whole album it just sounds like DMA'S. Tommy O'Dells’ voice is a high drawl that oozes elements of shoegaze, madchester, britpop and psychedelic '80's pop. Dawning is pure DMA’s -it could only be them and speaks volumes about their sound being their own- a beautiful lament that powers along and also showcases Matt Mason's fantastic guitar as well as the understated buttressing that his singing provides to Tommys’ most Gallagher like effort on the album.
The ballad In The Air demonstrates the boys’ softer side. The End is a lilting, soft disco refrain over Happy Mondays bongos and shoegaze guitars. On Warsaw Tommy asks “Where’s my conscience, she's gone dancin'” as those guitars jangle away. Lazy Love is a bouncy track that brings the acoustic guitar back to the fore for the rest of the album, along with a dollop of American country rock.
This well put together record closes with Emily Whyte, a fitting mid-tempo anthemic singalong that is a fans’ classic in waiting. For Now is an album with timeless qualities that will appeal to a broad spectrum. DMA’S are For Now too, but they are here to stay.
- Marcus Lavers.