In early 2011, Nick Allbrook, homeless, moved into the tiny back room of Cameron Avery’s house. They discovered a mutual appreciation of mooshy-weepy-sentimental lo-fi music. They had a really good summer - joyrides in their friends decrepit Holden Astra, duck watching at the local park, drinking large bottles of porter, making nocturnal excursions to Ezy Plus for Gummi Bears and soy crisps and generally being tight bros. They also finished recording a pile of songs, which eventually revealed themselves as being part of what is generally considered an “album”.

That album is called Big ‘Art. It is a crude attempt by two simple young men to mash their high-minded ideals of 50’s girl-pop romance and glam-rock optimism through the awkward fractures between their souls and brains. The gunk that came out the other end is strangely smeared with distortion and wailing guitars and synths and phasers, but it is ass shaking and truthful, so that’s all fine, right?

Allbrook/Avery have something to do with a bunch of Perth bands - Mink Mussel Creek and Pond and Tame Impala and the Growl - and have played a bunch of shows under the devastatingly unoriginal band name Allbrook, Avery & Co. with the help of good buddies and musical collaborators Clint Oliver, Lloyd Stowe (the Silents) and Kevin Parker.

Allbrook/Avery are lovely chaps who would love to meet you, have a drink and possibly expel their sonic and emotional refuse all up in your poor face and ears.


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