Fort

Fort

(MGM)

The cover art is striking. A naked black dreadlocked woman sucking on a lollipop with a world as the sweet on the end of the stick – metaphors anyone? It been a long time coming, but Byron Bay's Fort have returned with a self-titled album of international quality. The belly-deep riffage of their first EP Tripping In the Vast Exterior (2001) remains, as does the fuzz-laden surf rock of In A New Light (2003) and the hooky choruses of Never Coming Down (2005). Yes, this is the quintessential Fort album – hence the decision to self-title the release.

What sets this 12 track offering apart from previous efforts is the sheer weight of song writing and quality of sounds produced. There is no massive shift in sound, more a continued evolution from Fort's down-tuned alternative sounds towards a more straight up blend of hard rock with big hooks and catchy choruses. The riffs are still there, big bad and bold, but it's the vocal layering and harmonies that tweak your ear while the rumble keeps your body moving involuntarily.

"Andy Walker is full of swagger with "ow's" and 'huh's" punctuating the climaxes, snaps and drops in the music. At times bass, drums and vocals are left alone, which adds emphasis when the meaty dual guitars thump back. The variety of guitar tones is evident from song to song; some thick and dirty others more crisp and punchy.

Old Fort followers will find Falling From Grace a stand out; its massive riff is a barbeque stopper. Driver's tom work and drum rolls on Grace are equally tasty. The churn of Mountain is also one to turn up loud.

There are a plenty of heavier moments on this record, but what you find is they are broken up by breakdowns showing a more melodic side of Fort. Traveller's tale Recognition for example, starts out mean and menacing before dropping back into a more stripped back, distant feel. Faster Alone also shows glimpses of something bigger only to lay back and chill, while Gozor Lives Forever is a disappointment.

The most notable change of direction is All The Pretty Evils featuring Norwegian pop/electro singer Annie Lilia Benge Strand. It's a bit much to take at first, but you've got to give credit to Fort for sticking their balls out. It's good to see singer Andy Walker stretching himself instead of sticking to the lower toned areas usually associated with Fort, but lovers of low-end goodness need not despair – songs like bass-slithering Dreaming Of The Snakes and the darker wah-wah afflicted The Destroyer both house plenty of bottom-end fatness.

Final track No Sleep For Early Riser is the most sludged-out, psychedelic song on the album. Crickets introduce a feeling of limbo. Like stumbling through a hallway in the dark, unclear of what the doors mean or what the rooms beyond might contain. These five minutes of mysterious allure is out of sorts in album made up of around three or four minute upbeat catchy songs, and totally in contrast to album opener Hiding From the Humans, which is more of your foot to the floor, fuelled up and ready for action type jig. Make no mistake though, as always with Fort, there is plenty of sex and associated musical juices being thrown around. Skeleton Dance entices you to shake your bones, with its sleazed out groove and percussive extras. Cyclone is also a bit of a booty call and a radio possibility thanks to the catchy bridge and chorus.

Here's the crux. While testing the waters without turning off the faithful, Fort are giving themselves a fighting chance of bigger things with this album both here and internationally. On a more personal level, Fort allows a backing for various moods. A few beers and whatever else, shaking a leg and get loose or sitting back and chilling out in comfortable surrounds. Whatever the case, it will definitely find you left in a different place from where you began.

JAMES RIDLEY