Midnight Oil - Blue Sky Mining (Album Review)

Following a masterpiece is no easy task as subsequent albums will always be compared. That said, can Blue Sky Mining match the performance captured on Diesel And Dust?

Yes, and no! 

Few would argue that both albums are exceptional in their own right, with Blue Sky Mining winning, amongst other awards, the Best Album of 1990 by the Australian Record Industry Association (ARIA). While I do consider Diesel And Dust to be the stronger of the two, both were released during Midnight Oil’s creative peak; that is until the release of RESIST in 2022. 

While the previous paragraph never quite answered if Blue Sky Mining matched the performance of Diesel And Dust, I will say that it was Blue Sky Mining that would introduce me to one of the greatest rock bands Australia has ever produced. 

I know, I still haven’t answered the proposed question, have I? 

Perhaps it is best to say that the two cannot be separated or compared for whenever I think of Midnight Oil, I class both records as exceptional examples of what Midnight Oil is musically and what they stand for. 

Known for their politically charged lyrics and energetic performances, Midnight Oil continued their powerful musical journey with this album and while the mastering isn’t quite as lush as that heard on Diesel And Dust, it is thoroughly enjoyable and allows one to turn the volume up without experiencing fatigue. That aspect is particularly interesting as the original releases of the album were significantly more dynamic but the brick walling applied here certainly doesn’t detract from the emotive energy of the recording. Dare I say, it enhances it for compression is not always a bad thing.

Blue Sky Mine launches the album with a driving rhythm and anthemic sound that perfectly suits Peter Garrett’s vocal style. Although, it is far from the strongest song to be featured on the album and the production is a little dated when compared to modern standards. Nevertheless, from the get-go, Midnight Oil showcase their social consciousness as they deliver their opinion on workers’ rights. 

Stars Of Warburton slows the pace with a solid rhythm. While there is little doubt that Stars Of Warburton isn’t at the top of anyone’s favourite Midnight Oil songs, that chorus is where the magic happens. 

Bedlam Bridge has a somewhat chaotic introduction that’s a little left-of-the-centre, but it’s compelling and draws you into the story and sonic wonderland that is to come. On Bedlam Bridge, Garrett’s vocals are amongst his cleanest ever recorded; unlike his earlier punk-era recordings. As with Stars Of Warburton, the chorus, with its infectious beat and catchy melody ensure that it’s not only memorable but is one of Midnight Oil’s greatest recordings. The only disappointment is the closing moments of the song as I feel the street sounds are distracting. Yes, I acknowledge the segue between Bedlam Bridge and Forgotten Years, but I feel the outro is unnecessary and should have been repositioned to the intro of Forgotten Years. It’s just unfortunate that I also consider the first few seconds of Forgotten Years to be the perfect length.

Forgotten Years is one of Midnight Oil’s most recognisable tunes and there’s little doubt as to why, as the band’s musical prowess, along with Garrett’s powerful vocals, combine with perfect synergy to form an exceptional tune.

Mountains Of Burma is evocative and is amongst Midnight Oil’s finest recordings. 

King Of The Mountain has to be one of the most energetic, infectious, and hard-hitting rock rhythms in rock and roll history. There’s a little Punk, a lot of Rock, and Garrett’s commanding vocals. What more could one ask for? 

River Runs Red slows the tempo considerably and very well could have been a Crowded House tune; that should be seen as a compliment. Sonically, River Runs Red is simply gorgeous. The musical layering is exceptional and is amongst the very best I’ve ever heard. It really is that good!

Shakers And Movers is a solid song, but I would class it as a B-side. However, a B-side for Midnight Oil, particularly at this point in their career, would be a hit for any other band.

One Country is another passionate performance with a powerful message from The Oils. Recorded with an acoustic focus, One Country becomes a contemplative listen that makes you sit up and take notice. It’s simply gorgeous! 

Antarctica is a mesmerising closer. It’s thoughtful songs such as Antarctica that are Midnight Oil’s trademark, but it’s even more important as the final track on an album for you can either play the record again or sit and reflect on the music you’ve just heard. Whatever you decide to do next, one thing is for certain, Antarctica leaves a lasting impression. 

Blue Sky Mining may not have reached the heights of Diesel And Dust, but it’s still one of the greatest albums Midnight Oil ever recorded. The higher production quality is noticeable, and appreciated, but it never sounds overproduced. Granted, fans of their earlier works may disagree, but you can’t please everyone. Nevertheless, with the album's powerful lyrics, energetic performances, and distinctive sound, Blue Sky Mining is a must-own, and listen, for fans and newcomers alike.

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Midnight Oil – Diesel And Dust (Album Review)

Ian McFarlane's Encyclopedia of Australian Rock And Pop references Diesel And Dust as “groundbreaking and one of the greatest Australian albums of all time”. I dare anyone to challenge that claim as Diesel And Dust is the quintessential album Midnight Oil should be remembered for.

John O'Donnell, Toby Creswell, and Craig Mathieson also thought so highly of Diesel And Dust that it was awarded the No.1 Australian album in their book, The 100 Best Australian Albums. They go on to say “in the process of reinventing themselves, Midnight Oil has crafted an album of brilliant, passionate, and intelligent songs that carry a message”.

Following these greats with any additional commentary on Diesel And Dust would be seemingly superfluous, but bear with me as I take a look at the music that makes up Diesel And Dust.

Beds Are Burning is iconic! With its catchy guitar riffs and anthemic chorus there’s little doubt as to why it has remained as revered as it has over the years. Addressing the plight of Australia's Indigenous people and their stolen lands also adds to the emotive element of the tune and while politically-charged lyrics are not everyone’s cup of tea, few would gripe about Midnight Oil’s lyrical direction as the music is off-the-charts good.

Put Down That Weapon is sonically gorgeous. In fact, while the lossless Apple Music stream is from the 2008 remastering sessions, you won’t be disappointed for Put Down That Weapon, in particular, is mastered with kid gloves meaning that the pounding drums and infectious guitar hooks give the song a rebellious edge, while Garrett's vocals convey a sense of urgency and conviction.

Dreamworld shifts the tempo and tone but the driving rhythm section and memorable melodies ensure that Dreamworld remains a captivating listen. That said, Dreamworld is one song that can be a little jarring on the senses, especially when listening repeatedly as it isn’t quite as smooth, from a sonic perspective, as the other songs featured on Diesel And Dust.

Arctic World is an atmospheric marvel and while some may dislike the styling of the song, the evocative nature of Arctic World ensures the listener sits up and takes notice of a song that addresses climate change; an issue that is still plaguing modern society.

Warakurna flows seamlessly from Arctic World with rhythmic perfection. It’s one of my all-time favourite Midnight Oil songs as it blends traditional rock elements with indigenous influences to deliver a song with a poignant message.

The Dead Heart is another sonic standout from an album that defines Midnight Oil. The combination of all musical elements and Garrett's passionate vocals creates an emotionally charged atmosphere that is both captivating and deeply moving from both literal and musical perspectives.

Whoah is sonically beautiful. Close your eyes, relax, and enjoy.

Bullroarer picks up the pace with driving guitar riffs and a rhythmic and infectious chorus that ensure Diesel And Dust is remembered for its high-energy sound as much as it is for its sociopolitical messaging. With a tip of the hat to Midnight Oil’s Punk roots, Bullroarer is a musical masterpiece and one of the best songs they have ever written and recorded. If you haven’t already, turn the volume up to 11.

Sell My Soul is a hidden gem with introspective vocals and a melodic arrangement. While it was never destined to be a standout hit, Diesel And Dust is all the better for Sell My Soul’s inclusion.

Sometimes showcases Midnight Oil’s Punk roots and while there’s absolutely nothing wrong with that, it isn’t the strongest song on the album, particularly with regards to the verses. The chorus, however, is another issue entirely for it’s thoroughly enjoyable and captivating.

Gunbarrel Highway, while not featured on the vinyl and cassette releases of Diesel And Dust, made it to many of the CD editions as a bonus track. While I’m normally dismissive of bonus tracks, Gunbarrel Highway is one exception as it is a perfect closing tune to the album; one that encourages me to play it again.

Midnight Oil’s Diesel And Dust is timeless from both the perspective of sociopolitical issues and musicality. This is one album whereby each track stands on its own but the collective nature of the album experience further amplifies a cohesive musical statement. While some will turn to it for literal meaning, others such as myself will prefer to enjoy the album for its masterful musicality. No matter how you choose to appreciate Diesel And Dust, one thing is for certain, this is one album that you need to have in your collection.

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Midnight Oil – RESIST (Album Review)

New albums by beloved artists can be a challenging dichotomy for few reach, or surpass, their creative peak; arguably 1982-1990 in the case of Midnight Oil. Yet, with RESIST The Oils have returned to form by releasing an album that rivals their greatest releases. While nothing will ever compare to the groundbreaking Diesel And Dust, RESIST comes awfully close. The political style remains determinant in intent and the rock tuning and melodic rhythm are in perfect unison with Midnight Oil’s renowned sound signature. More than that, however, the biggest development in their music can be heard in the mix and mastering whereby the sonic experimentation that, while previously present throughout their career, is amplified to an extent previously unheard of by Midnight Oil. 

As it pertains to the overall recording, the lossless Apple Music stream is stunning. When an Apple Digital Master is this good, I question the benefits of picking up an album on vinyl. Yes, the ownership and tactile arguments are justified, but vinyl is mastered differently and that difference can be enough to change the overall tone of the record meaning that there is a chance it could sound inferior to the stream that I already adore. It’s just something to consider, especially as the price of new vinyl releases is at an all-time high. While I do not doubt that those of you who choose to go the vinyl route will be thoroughly pleased, streamers can rejoice in the knowledge that RESIST sounds perfect with no excessive compression throughout, only really showing up on Nobody’s Child. 

For those who can’t get past the political direction of the band, I implore you to put aside your own opinions and give RESIST a listen for it will take you on a musical journey that isn’t easily forgotten. Of course, their message is clear, if you care to hear it, for it is one of solemn reflection with numerous calls to action but RESIST is one of the best rock albums you’ll likely hear in 2022; it’s classic Midnight Oil.

Rising Seas opens the album magnificently with a solemn Peter Garrett on vocal in an acoustic-styled manner, but that quickly dissipates into the rhythmically-charged Midnight Oil sound we all know and love. There’s no interpretation of lyrical intent required here, for Rising Seas is, arguably, the most direct, and to the point, song The Oils have ever recorded. Rising Seas is also a wonderful acknowledgement that we’ve failed the coming generations as it pertains to critical environmental matters. It’s reflective and that is ultimately its superpower for it makes you think, perhaps reconsider, and ultimately want to act.

The associated music video is the best five and a half minutes of footage you’ll likely see this year. They generally don’t make music videos like this anymore. It’s powerful and influential, but most importantly it delivers a very real concern in a manner that touches the soul differently than other forms of media. I strongly believe that music as a messaging platform can be extremely powerful and when you add visuals that match the lyrics the way Midnight Oil has, you’ve got a compelling storytelling device that everyone should see, regardless of their beliefs. 

The Barca-Darling River is Midnight Oil 101. That driving rhythm has Garret’s obscure dance moves written all over it and The Barca-Darling River, while not necessarily forging new ground, is an expansion of their previous works. The musical lull in the middle may detract some who were more interested in a continuous rock tune, but as far as I’m concerned it’s masterfully placed and the transition isn’t awkward. 

Tarkine reminds me, musically, of some of the songs from Paul McCartney’s Egypt Station but Tarkine isn’t a standout. The chorus and musical aspects of the song are compelling, as an album track, but you’re unlikely to seek out Tarkine on its own. 

At The Time Of Writing has a killer hook and is arguably the best song on the album. While the mix is complex, with numerous sonic cues, the soundstage remains solid and you’ll want to turn the volume up on a song that I dare say will become a classic. Sensational!

Nobody’s Child is a bluesy number and is the first time that compression is heard on the album and is particularly noticeable via cymbal crunching. It isn’t nearly as bad as many other modern recordings, but for those of you who detest compressed sound elements, you may wish to skip this song. Regardless, Nobody’s Child is arguably a little different than one may expect from Midnight Oil, but it’s a solid tune nonetheless. 

To The Ends Of The Earth is a masterful composition. It may be an album track, rather than being single-worthy, but I’ll be damned if I don’t acknowledge just how good To The Ends Of The Earth is. Garret sings it perfectly and the band is subtly present but equally dominant throughout. It takes great skill and restraint to have such synergy; a position that could easily apply to the entire album. 

Reef harks back to the classic Midnight Oil sound we all know and love; hence, it’s a killer tune and is another with pure honesty declaring that coral reefs don’t belong to governments or mining corporations but to people; a simple but easy concept for anyone to understand. It's a shame when something that should be common sense is neglected by many and subsequently needs to be expressed in this manner.   

We Resist is perfectly placed in the album structure and while the song is a call to action, I feel that it isn’t directional enough and therefore is too open to interpretation that may not have been intended by Jim Moginie when he wrote it.

The music video offers more context but isn’t nearly as compelling as the Rising Seas video. Again, it comes down to a feeling that it lacks direction and while that shouldn’t undermine its intent, it does mean that the topics being discussed have the potential to be overlooked. 

Lost At Sea is a song that puts me into bass rhythmic heaven for Bones Hillman's bass track is utterly perfect. It’s another song that will remind you of Midnight Oil’s classic era and while that isn’t necessarily a bad thing it’s a little too predictable; if you’re looking for an evolution of the band of course. Predictability, however, is perfectly acceptable when lyrical meaning is strong enough to rise above the music itself. 

Undercover sees Peter Garret deliver the vocals with an exceptional cadence. Yes, he’s been singing in this style for his entire career, but the effect is amplified here and can subsequently be thoroughly appreciated. Undercover is a great song and the more I listen to it, the more it unpacks itself. While it likely won’t be the first song you seek out, it’s one that I feel will become a fan favourite; after a few plays, of course. 

We Are Not Afraid is musical bliss. That introduction is magnificent and it’s fair to declare We Are Not Afraid as one of The Oils' greatest recordings; it’s certainly their greatest slower-tempo song. It’s one that I’d love to see Midnight Oil perform live with a Symphony Orchestra for as amazing as it is, there’s a more ostentatious song to be heard in We Are Not Afraid. The lyrical interpretations that can be devised from We Are Not Afraid are broad and diverse, but the underlying principle meaning is one that anyone can get behind and apply to their own circumstances.  

Last Frontier starts promisingly, even if the radio chatter and overall sonic interlude are a little distracting. I would have preferred that Last Frontier started at around the 1:30 mark, but alas that isn’t the case. As for being the closing song, I would have preferred if We Are Not Afraid closed out the album for the hook of Last Frontier is great, but the song itself is a little too disjointed, from a musical perspective, to close the album on a high note. Nevertheless, the lyrical questioning leaves the listener contemplating, and most likely Midnight Oil chose this song to act as a call to action for it is their motif. 

While RESIST will support the Oils’ final tour, and more new music is always appreciated, if RESIST were to close out the Midnight Oil story, I couldn’t think of a more appropriate swansong. RESIST is also the final series of recordings from Midnight Oil that featured their longtime bassist, Bones Hillman, who passed away in November 2020. His bass chords are ever-present on RESIST and are some of his finest ever recorded. That too could be said for the contribution of the entire band but perhaps what is most remarkable is that Midnight Oil doesn’t sound as though they’ve aged, or taken a hiatus. RESIST, ultimately, is a worthy addition to their extensive back catalogue and one that will undoubtedly appeal to fans and newcomers alike. 

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