Auntie Leo & The Backstabbers are a surf rock band from Melbourne, Australia. Today we’re pleased to share their latest EP Wetbrain along with a track-by-track commentary from the band ahead of its official release tomorrow.
“Pretty Honey” is the opening track to our EP. It sets the mood before you delve into our creative big spit which is Wetbrain. Picture your arrival to a run-down saloon in the deep West. The saloon doors swing open and you immediately feel the unforgiving gaze of the less desirable faces which fill the bar. You ask the bartender for a water but she gives you a whiskey instead.
We wrote this song in honour of a local legend, a real heavy-weight down at our routine watering hole. Big John stands as solid as a house and with hands like hammers, we really wanted the song to hit as hard as him. The song’s punchy guitar and whaling harmonica are about as unpredictable as the Silverback himself because as the lyrics and the big man himself say, “ya never know who’s in the zoo”.
The best way to describe “Wetbrain” is the moment your skull’s inners turn to mush and your legs become custard. This track pays homage to all the times you’ve had to scrape one of your friend’s brains off the floor or every time you’ve had to stick a fork in em’ because they’re a little too well done for your liking… And with mates like ours it’s become a regular occurrence. We chose “Wetbrain” as our title track because the pack of sloppy misfits that gave this song life are the same ones that push us to do what we love.
“Bad Seed” was written whilst Dillon was obeying the doctor’s orders after a workplace accident. “Instead of being stuck in bed surrounded by four walls, I wrote about a long journey that I wished I was on. It seemed a way more interesting way to pass the time and really forced the creative thoughts to flow. I wasn’t stuck in my room anymore, but on the coast, riding horseback with a frothie in my holster.”
We close out the record with “Graveyards”, which is a bit of an oddball compared to the other songs, with more of a psychedelic, middle eastern vibe about it. The irregular time signature allows Marcus to get a little creative with his drumming. Pairing that with the melodic sounds of the sitar and building percussion, we gradually escalate towards the climax of the EP.