Cartoon Darkness by Amyl and the Sniffers

Review written by Cassiopeia

Need some new music to thrash around to in your room? Amyl and the Sniffers have got you covered in their 2024 release, Cartoon Darkness. Debuting in 2016, the Australian group is finally starting to get some international recognition. Cartoon Darkness has arrived kicking and screaming just in time for a much needed revival of pub rock. If you like groups like Alien Nosejob, Destroy Boys, and Viagra Boys, you’ll want to add this band to your queue.

Frontwoman Amy Taylor is integral to the band’s sound and identity. Her virality online is part of the reason for the band’s recent success. As the unofficial sweetheart of Australia, her bubbly and eccentric personality breathes life into each song. She sings like a strong wind uprooting everything in her way. Her voice rasps as she sings/yells the words in a thick Aussie accent. The lyrics (all written at least partially by Taylor) are cutting and blunt, spiked with a recognizable humor that lets you know they don’t take themselves too seriously. Their song “Tiny Bikini” is a tongue-and-cheek ode to Taylor’s signature scantily clad style, as well as a “fuck you” to anyone who has a problem with it. She sings playfully, teasing the listener and letting you know she’s in on the joke. Cartoon Darkness has plenty in it to say about their critics. The very first song on the album (and perhaps the most popular so far), “Jerkin,” is full of all the things you’ve ever wanted to say to the person you hate. The lyrics are vulgar and aggressive and fun, all words that can be used to describe the band itself. As Taylor shouts, “Bum hole, dumb cunt / You are ugly all day / I am hot always,” you want to join her regardless of who the song’s about. I was blasting this song methodically for days after witnessing the most recent election results. Taylor’s over-the-top lyrics play into her playful and confident persona. Part of her magnetism comes with the way she holds herself. I’m sure Amy Taylor has insecurities and doubts of her own, but just for a moment those thoughts can slip away as you join her in telling the critics to fuck off because you’re hot and untouchable. Taylor’s energy is contagious, and the band wouldn’t be the same without it.

Amyl and the Sniffers still have a ways to go in finding their sound. They’ve stayed true to their original music over the years, and it has evolved as they grow. Their current style heavily references the 80s, including Amy’s Farrah Fawcet hair and high waisted jeans. The Sniffers have got the energy and crudeness of bands like Dead Kennedys and Black Flag, with Motley Crue-esque instrumental breaks. Even their music videos are created with analog film, a touch I enjoy. While these references are true to the Sniffers as a group, I would hate for the band to be dismissed by the general public as nostalgia music. Too often I see bands that rely on a certain decades’ sound get boxed in, unable to experiment or modernize. As I listened back to the Sniffers’ older music, I noticed a clear melodic improvement in their more current album. Amy Taylor’s becoming more comfortable with her singing, and the songs are becoming more complex. The ballads in the album, like “Bailing on Me” and “Big Dreams,” are an example of the band branching out. “Bailing on Me” has a compelling walking bass line that carries the song. Near the end of the ballad, there’s a key change that you don’t hear very often in current songs. “Me and The Girls” closes out the album and stands out from the rest. The Sniffers experiment heavily in their last song. Electric mixing is added to the backup vocals, and a sample of a didgeridoo is played throughout. The backup vocals felt a bit jarring, since nothing else is modified as heavily. The addition feels a bit awkward, and I imagine that in future albums the digital aspect will be applied more naturally. However, I found the didgeridoo to be quite groovy. It immediately piques your interest and pays homage to the group’s background. My hope is that Amyl and the Sniffers will continue to experiment and modernize their sound without straying from their roots.

I can’t write about a band like Amyl and the Sniffers without writing about the feeling you get when you’re listening to them. The fifth song on Cartoon Darkness, “It’s Mine,” acts like a direct shot of adrenaline. The song lasts for a quick minute and a half, leaving your system almost as fast as it shot through. “Motorbike Song” feels like a classic 80s punk song about motorcycles and being free. For the duration of the song, you can be wild and restless, similar to the rush of riding on a motorcycle. The Sniffers bring an energy that’s vital to the genre. Amy Taylor brings something new. She’s got an infectious attitude that’s vibrant and unbending. When you’re listening, it doesn’t feel like she cares at all what you think. Her whole self is bared for us to see and we can take it or leave it. Her aura is a beautiful chaos that sucks you in. Songs like “Tiny Bikini” and “U Should Not Be Doing That” tease the listener with Taylor’s salacious attitudes, and question why it should bother you in the first place. Taylor’s authenticity aids their songs like “Big Dreams,” which encourages the listener to keep pursuing their goals. As a band of young adults, the Sniffers know what it’s like to struggle. As a listener, I feel connected to their lyrics when Taylor sings, “You wanna get out of here / Just take a breath and get yourself together, I swear.”

Discovering Amyl and the Sniffers has been a savior to my playlists. Their rough edges are a breath of fresh air from over-produced TikTok songs. As more people look for an outlet to process their emotions toward current events, I suspect groups like Amyl and the Sniffers will get their much deserved spotlight. As they continue to evolve, and hone their signature sound and style, I’m confident the Sniffers will always stand out. I’m certainly looking forward to my next fix of Amyl and the Sniffers.