REVIEW: DMA'S - DMA'S

There is a list of fundamental qualities that every truly innovative band must possess: consistency, creative independence, and a defining, unmistakable sound. Everything about DMA’S self-titled latest album embodies those characteristics. The Australian trio are renowned for the gritty, emotionally charged vocals of frontman Tommy O'Dell, the creative guitar work of Matt Mason, whose inventive riffs and melodies have become a key part of the band’s identity, and the song writing talents of Johnny Took, the acoustic and rhythm guitarist responsible for much of DMA’S musical foundation. Combining melody-driven indie rock with classic Britpop influences and modern production, DMA’S continue to honour the sound that established them while subtly evolving their approach to song writing.

Opening the album is El Alamein, a track that immediately feels unmistakably DMA’S. Tommy O'Dell’s instantly recognisable voice soars over shimmering Britpop-inspired guitars, delivering the band’s signature sound from the very first note. The chorus is upbeat, melodic and instantly addictive, creating an infectious indie anthem that captures the euphoric atmosphere DMA’S have become known for.

My Baby’s Place follows with a warm sense of nostalgia. Rather than relying on standout instrumentation or lyrical brilliance, the song succeeds through the atmosphere it creates. While the lyrics lack the iconic quality of classics such as Silver or Tape Deck Sick, O'Dell’s softer vocal performance provides a comforting sense of clarity and peace, allowing the song to reveal more of its charm with every listen.

With Hurricane, everything clicks into place. The melody, heartfelt lyrics, polished production and O'Dell’s passionate vocal performance combine effortlessly. DMA’S have built a reputation for writing unforgettable choruses that audiences immediately connect with, and Hurricane is another perfect example. Its gradual build may test the patience of some listeners, but the restraint ultimately makes the payoff even more rewarding, resulting in one of the strongest songs on the album.

https://youtu.be/-zTB57LiXPk?si=nEWqfbqIH0npSUp0

Next comes Killing Time, one of the album’s more understated highlights. It may never become the crowd’s biggest singalong moment, but its irresistible groove makes it difficult to ignore. The bouncing rhythm, layered guitars and crisp production create an indie disco atmosphere that feels effortlessly infectious. Heatin Park injects fresh energy into the record. Britpop-inspired guitars evoke echoes of OASIS, yet the track remains unmistakably DMA’S. From the opening chord, it bursts with confidence, combining swagger, groove and raw emotion into one of the band’s most exciting songs to date. It may not define DMA’S as a band, but it deserves to become one of the standout tracks within their catalogue.

Emailz introduces a subtle psychedelic edge. Its gentle sway allows the guitars and drums to perfectly complement O'Dell’s reflective vocal delivery. The repeated guitar motif is deceptively simple yet highly effective, giving the song an emotionally satisfying quality as the lyrics unfold naturally. One & Only showcases the band’s continued maturity as songwriters and their willingness to experiment without abandoning their identity. The nostalgic melodies and expressive guitar work form the emotional core of the track. Although it may not become one of the album’s defining moments, it stands comfortably above the level of simple album filler.

The pace slows for Dancing Luck, returning to the acoustic sound many fans consider DMA’S greatest strength. O’Dell’s weathered, strained vocal performance possesses a remarkable beauty, giving the song a deeply personal quality. The drums act more as a metronome than a driving force, allowing the emotion to take centre stage. While the lyrical depth may require several listens to fully appreciate, the reward is well worth the patience. Maintaining the reflective mood is Concrete. O’Dell once again delivers a compelling vocal performance, but the song feels relatively safe compared to the surrounding material. While it will undoubtedly resonate with many listeners, it lacks the ambition needed to become one of the album’s defining tracks.

https://youtu.be/pM7sKhvDRm8?si=TFgoaZ4sqBiiF_ze

The penultimate track, Windows, represents DMA’S at their emotional peak. The acoustic arrangement strips everything back, allowing both the song writing and O’Dell's vulnerable vocal performance to shine. His delivery feels deeply authentic, while the lyrics rank among the strongest on the album. Arguably one of the finest acoustic songs the band have ever written, Windows demonstrates just how powerful simplicity can be.

Closing the album is Distance, which reintroduces electric guitars with exhilarating effect. The riffs burst back into life, the guitar solos weave seamlessly throughout the track, and O’Dell's vocals remain the emotional focal point. Overflowing with energy and summer festival atmosphere, it provides the perfect finale and leaves listeners wishing the album had just one more song.

DMA’S have never aimed to reinvent indie music. Instead, they have embraced a different responsibility: preserving and revitalising the genre while remaining authentic to themselves. At times, that commitment means they can appear reluctant to push their sound further, occasionally favouring familiarity over experimentation. Even so, their self-titled album never chases trends or abandons the identity that earned them such a devoted following. Instead, it refines that signature sound with confidence, proving once again that few modern bands understand melody, atmosphere and emotional honesty quite like DMA’S.

Score: 8/10

DMA’S will be released on 7th August 2026 via RCA UK.

Words: David Waites

Photos: Roman Jody