<p><em>- FIBATTY!</em> is the peculiar title of Glenn Richards' latest solo album. A quick Google check will let you know that its etymology is unknown and that it is safe to assume that it’s an acronym devised by the songwriter and adroit wordsmith, Glenn Richards. In order to ascertain its meaning, listeners will have to wait until the sixth (and title) track, as the refrain enlightens when Richards laments, “<em>fuck it’s been a terrible twenty years</em>.” Having released their stellar debut album <em>Sunset Studies</em> in 2000, <strong>Augie March</strong> -and by extension, Glenn Richards'- career has spun an impressive twenty years. It’s a bleak summation considering Richards has released six brilliant albums with Augie March and now two great solo albums over the past two decades. However, it is plain to any fan, that despite the critical acclaim Richards has never garnered the success owed to his obvious talents. On <em>FIBATTY!</em> he addresses his qualms with the music industry as well as his contentment in his artistic endeavours.</p>
<p>Arguably his strangest album, Richards employs computerised synthesisers and drum machines to execute his songs, playing the actual instruments himself. The amalgamation finds slick studio effects intermingling with Richards’ clumsy-yet charming banjo and acoustic guitar playing. This is evident on opener, <em>In the Court of the Cat King </em>which serves as a quirky introduction to the album, followed by the poppiest track, <em>Alive (Until You’re Not)</em>. Featuring punchy-verse lines, heavy synths and an uplifting chorus, it’s Richards at his most catchy. Yet, this foray into three-minute pop is ephemeral, immediately followed by the grandiose and <strong>Queen</strong> inspired <em>New Songwriter</em>. A subtle reproach of singers backed by a team of songwriters, <em>New Songwriter</em> is full of cheeky witticisms in addition to an ambitious arrangement.</p>
<p>On other tracks, the subject matter is morose, and the lyrics darker than on most of Richards' albums (which is no easy feat). This is evident on <em>Lake Drive</em> and <em>Last Aid Kit</em>. Drowning in suicidal themes, the former is reminiscent of modern <strong>Nick Cave and the Bad Seeds</strong>, while the latter is simply redolent of a bad trip. On penultimate track, <em>Backyard Arcana</em>, Richards states that “<em>words are fire in the right pen” </em>and on final track and highlight <em>Never Be Your Boy</em> he sings, “<em>Words don’t mean that much to you / When you can get by on just one or two phrases in the popular circulation</em>”. Through both of these lines, Richards seemingly touches on why over the last twenty years, despite the criminally insufficient attention, he has managed to become a cult artist, a songwriter’s songwriter and widely regarded as one of Australia’s greatest.</p>
<p>- Jonathan Cloumassis.</p>
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