After a successful European tour in 2019, playing to some of the largest audiences of their existence, Zerodent returned home to Perth to contend with the comedown familiar to many Oz bands as the glow of a conquering Continental tour fades. Unfortunately, there was no way to know at the time that within a few months even small hometown support slots paid in beer tickets would soon be off the table.
As the world plunged into a pandemic, life in the one of the world’s most isolated capital cities became even more isolated. And with the band suddenly unable to be in the same room together for months on end, let alone play shows, Zerodent’s existence like so many bands at the time, was cast into doubt.
Slowly restrictions eased and the band were able to pick up where they left off. New ideas from each member that had been worked on at home were quickly hammered into shape. 10 new songs were created, rehearsed and perfected.
The band’s challenge then was what to do with them. Once the pandemic dust began to clear, it was apparent that the Oz indie label ecosystem had taken a huge hit, with many small labels either going under or just barely scraping by. Lead times on vinyl pressing plants had shifted from months to years, and the logistical challenges of touring had become tougher than ever. They began to question the very notion of playing and releasing music in a post-Covid world.
It all came back to first principles. As they reassessed the situation, they focused on original intent of the band – music as a creative outlet and excuse to hang with friends. They realised that recordings need not dictate their existence.
However, in October 2022 an opportunity presented. Band friend, Benny J Ward (Rineharts, Leeches), had used the pandemic downtime to establish his own home studio dubbed ‘Pink House’ in Mt. Helena and he was looking for bands to record.
Working with Benny proved to be fortuitous. As a longtime supporter of the band and someone well-acquainted with the band’s live sound, he knew what was required, capturing basic tracks while also encouraging the band to add detail and experiment. The album was then mixed by Ward with input from the band, avoiding the process of using an outside ‘name’ mix engineer as they had on previous albums.
The new approach paid off – Human Races is the most varied and assured recording the band has released to date. And while the familiar short, Wire-like blasts remain, they are now bolstered by a stronger melodic edge. Clinton Bell’s bass has increasingly become a lead instrument to the driving guitarwork of Predrag ‘Pex’ Delibasic, much like that of Tony Lombardo and Frank Navetta on the Descendents’ earliest recordings.
Standouts abound. ‘Better Believe Me’ twists around a snake-like ‘Three imaginary Boys’ - era Cure bassline, while ‘Perfect Thriller’s lilting, push-pull verses and declamatory choruses recall Prehistoric Sounds-era Saints. Vocalist Lee Jenkins throws some curveballs too, at times channelling the droll melodicism of the late Terry Hall, while also showing an increasing authority over the band’s faster material.
While familiar themes of anxiety, futility and ennui are ever-present, album closer ‘Feeling Alright Again’ seems to offer a glimpse of a way forward:
Sun is out/Clouds are gone/No shakes or splutters/ No trips or stutters
That funny feeling of feeling alright again
And with this gritted-teeth optimism also comes an acute sense of purpose and action:
Aim for the headshot and make no mistake/ There won’t be no chance for another good take
There is no time for evolution/ Now is your time for contribution.
On Human Races, Zerodent have certainly made theirs.
