liam kenny

The man of many musical outfits, Liam Kenny, hasn’t been idle since the release 2014’s experimental gem, A Kenny For Your Thoughts. Aside from some tunes released as part of The Friendsters, Liam has been busy putting together another solo effort, this time sticking to his own name. ‘Border Fetish’ is the first we hear of Liam’s forthcoming album, The White Man is Oppressor, to be released through Matt Kennedy’s Eternal Soundcheck label. As Liam discussed with Noisey, The White Man is Oppressor explores thoughts surrounding the guilt and privilege afforded white Australians. Being a white Australian himself, Liam Kenny is placing himself firmly in the limelight and skewering the behaviours and thought patterns that are causing social disharmony, seemingly bred among well-off middle class households.

‘Border Fetish’ is a straightforward yet dissonant punk song that drives forward relentlessly. It’s rough but direct, doing away with structural frills such as choruses in favour of stream of consciousness elucidation. It’s harsh, it’s scornful and it’s a gripping opening statement as far as singles go. The press material mentions influences by the Ramones, Aerosmith and the Rolling Stones but it’s a mutated amalgam if it is any sort of combination; a new animal entirely.

Liam doesn’t seem to be doing this for of any sort of self-congratulatory purpose, rather merely acknowledging his part in a system causing injustices – social issues that many often subconsciously participate in or ignore. The idea of making a statement as a member of the majority against the status-quo using his own solo project is a commendable way to go about rejuvenating the political nature of the underground and is hopefully a trend-setting example for others seeking change from the exploitative nature of first world society. This isn’t something you see many white Australian musicians attempting, and I am very interested to see how the rest of the album shapes up.