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When Deaf Wish found themselves in a room together for the very first time, they agreed on a guiding philosophy: “Let’s not make anything that’s going to last. If we’re together for just two shows, then that’s what it is.” They’ve deviated since.

Over the course of eight years, the Melbourne foursome bassist Nick Pratt, drummer Daniel Twomey and guitarists Sarah Hardiman and Jensen Tjhung - with each member contributing vocals - have instead amassed one of rock’s most exhilarating bodies of work, a concise run of seven inches and white-knuckle albums whose legendary live translation has been most accurately described as ‘unhinged’. All this despite their being scattered across multiple continents, with no way of getting to know one another outside of intermittent touring. “We didn’t really know what this band was,” says Tjhung. “We had something, but it wasn’t clear - we had to figure out what that was.”

This year marks the arrival of ‘Pain’, the first music they’ve written since coming together again semi-permanently in Melbourne and their appropriately titled first full length for Sub Pop. It is a miraculously dissonant, wonderfully immediate display of Deaf Wish at their mightiest, alive with the same wild chemistry and sense of possibility that made their first recordings so vital.

With more time together than they’ve ever had before, they’ve found themselves confronted with ideal (yet foreign) conditions. Twominute freak-outs like ‘Eyes Closed’ share airspace with the meditate squall of ‘On’ and the guitar-born majesty of ‘Calypso’. Everything was captured in three takes or less, in a bleak, nondescript studio on the lifeless outskirts of Melbourne. ‘Pain’ was mastered by Mikey Young (Eddy Current Suppression Ring, Total Control).

TRACK LISTING

The Whip
Newness Again
They Know
Sunset’s Fool
Eyes Closed
Pain
Sex Witch
On
Dead Air
Calypso