The Chamberlains is the solo project of Sydney-based musician and poet Michael Stephens. Coming with a grim, abrasive, loud, yet darkly comic tone, the experimental rock project looks to explore the absurdity and ugliness of modern society.
On ‘Kingdom of the Swine’ Michael delivers a wholly unique concoction of garage and post-punk inspired rock alongside sardonic lyricism that delves into themes of youth, isolation, gentrification, hearsay and masculinity. It is, without a doubt, a post-modern album in every sense of the term. The soundscapes, the lyrics, and tone all sound like a piece of fine art — meticulously composed with the intention to affect, not to please. On the opening track ‘Institution’, Michael’s sardonic delivery is made clear from the start. There’s a clear emphasis on distorted guitars that give the album that distinctive shoegaze/garage rock feel, adding even more to the raw, unfiltered angst.
Michael’s background has all lead to him being a musician. Growing up in a musical household, he found solace as a recluse in school through his time spent enjoying the works of heralded singer-songwriters he now seems to emulate like Tom Watts, Leonard Cohen, and Nick Cave. After dropping out of high school, MIchael pursued music at Sydney TAFE during his late teens, playing and writing songs with the intention of establishing his own band. Midway through that, he chose to attend University instead; but all the while Michael continued to write and record demos. When he finally graduated, the world was caught in the midst of the pandemic.
Yearning to go back and seizing the moment, Michael took on the entire responsibility of writing, recording, and releasing the record on his own. And so, The Chamberlains were birthed as a project of one man — driven, determined, and dark.
Kingdom of the Swine is undoubtedly not an album for easy listening. It’s heavy, harsh, and hurting; disguised with words that take a comic turn. The titular track stands out as the highlight to me. Driven by a pulsating, growing, and pounding riff as Michael delivers his lines with far more vigour and emotion than the rest of the project, it’s a six minute long highlight of progressive garage rock. The breakdown, which features indiscriminate screaming in the background of a solo, is especially jarring. For the riff, and that riff alone though, any hardrock fan would flock to it.
For fans of more experimental turns in rock, particularly with an affinity to garage rock and hard rock, Michael Stephen’s solo project The Chamberlains is well worth your attention.
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