Many of the tracks are far more introspective than their self-titled debut, Amy Taylor manages to convey vulnerability whilst at the same time sneering, which is no mean feat, against the backdrop of high octane guitar licks, frantic, fast-paced bass lines and drum beats that can raise the dead.

"Comfort To Me"- Amyl and The Sniffers highly anticipated sophomore LP was released on Friday 10th September on Rough Trade Records and demonstrates the Melbourne-based garage-punk tetrad has most definitely matured, instrumentally as well as lyrically.

Many of the tracks are far more introspective than their self-titled debut, Amy Taylor manages to convey vulnerability whilst at the same time sneering, which is no mean feat, against the backdrop of high octane guitar licks, frantic, fast-paced bass lines and drum beats that can raise the dead.

The first track, “Guided By Angels” sets the pace for the rest of the album. Taylor, oozing with sass and spunk, booms “I’ve got plenty of energy, it’s my currency.” She surely must be rich indeed, as there is an abundance of energy throughout, the album races on at a white-knuckle pace.

“Freaks To The Front” clocks in at a mere 1.41 seconds, is pure thrash punk, and is equal parts Amy upholding her right to her personal life-“Get on my level, or get out the way”, she bellows as well as being a wry dig at a “pre-teen” who got in Taylor’s face on a visit to London, calling her ugly. She has turned the insult on its head, owning it, completely unapologetic about how she comes across, seething “ “I’m short, I’m shy, I’m fucked up, I’m bloody ugly, Get Out of my way, Don’t bloody touch me”. Cross her at your peril.

This record was created during Australia’s notably stringent lockdown restrictions, Amy Taylor and bandmates (Dec Martens guitar, Gus Romer, bass and Bryce Wilson, drums) found themselves sharing a house in Melbourne, and whilst bereft of any outlet to use up all the energy they are used to dispensing on stage, they threw themselves instead into writing CTM and honing their skills. And although this is certainly no rinse and repeat of their self-titled debut, the tracks are still deeply infused with their pub-punk roots, but there are some almost thrash metal moments on the album too, notably on track 8 “Capital” which is Politically-charged, and visceral, the lyrics cover everything from the Australian bush fires, climate change, and taxation, cramming it all in in a little over 3 minutes, leaving you reeling, as well as the outro to track 4, “Security” which starts as a solid pub-punk, both in tempo and lyrically- “Security will you let me in your pub, I’m not looking for trouble, I’m looking for love” and instantly recognisable as Amyl and The Sniffers before completely switching up at the end. “Hertz” radiates the feelings of frustration of lockdown, “ I want to go see the country, I want to get out of here.” Sentiments I am sure we can all relate to when reminiscing over our own experiences during lockdown. The frustration is also palpable on track 9, “Don’t fence me in, I want to be part of everyone and everything”.

On a more personal level, Taylor allows us to see brief moments of vulnerability, Track 6, “No More Tears” she muses “Wish I could love me for all of my flaws like I love you for all yours.”She describes herself in “Laughing” “I am still a smart girl if I’m dressing slutty, and I’m still a smart girl when I earn my money.” And in “Snakes”, “I was buckteeth and pale….wasn’t a loser, definitely a loner”.

For me though, the standout track is “Knifey.” It is dark, Amy charging headfirst into the issue of female safety, “All I ever wanted was to walk by the park, all I ever wanted was to walk by the river, see the stars…Out comes the night, out comes my knifey, This is how I get home nicely….. I’m a sick demented monster with my hands around your throat”. The limited-edition LP contains a fanzine penned by Taylor and has a very sobering read towards the back where she reflects on not being able to walk home alone at night, at having to dress in a certain way to avoid incidents and the resignation that everything she ever does will be politicised on the account of her being female.

Other album highlights are the jaunty, raucous, jeering “Don’t Need A Cunt (Like You To Love Me) where Amy crows “She’s ten out of ten, you’re so so, you think you can fuck with her? HELL NO, and “Maggot” “Maggot carcass, maggot be free, come on maggot put your maggots in me” she joyfully roars.

Amy Taylor describes “Comfort To Me” as a “less spontaneous and more darkly considered” follow-up. I for one completely agree; I think the resulting album is extraordinary, and showcases Amyl and The Sniffers as juggernauts of the Aussie Music scene, smashing through any barriers that get in their way, and improving and expanding all the time. There is a lot to love in this album, and it is a solid listen from start to finish.