JOCELYN’S BABY DROPS 'GRAB YOUR GUN' AN ALT-POP FEVER TRIP OF A DOUBLE SINGLE

Photography - Emma Daisy

This is the second double single offering from Jocelyn’s Baby. Both Grab Your Gun and Closing Time (music dies) manage to be nostalgic yet subversive, and at the same time unapologetically lush and cinematic. But above all else, it’s just some silly queer fun; think Quinten Tarantino musical stylings but gay, not problematic and most probably without all the foot fetishes.

Jocelyn’s Baby is the moniker for the ever-changing solo project of Perth/Boorloo-based musician and theatre maker Jess Nyanda Moyle. Since releasing their debut ep Foetus & Fossil Jocelyn’s Baby (FKA Jess Jocelyn) has grown and evolved into a 4-piece iteration with Courtney Hardy on drums, Aaron Graham on bass and Joshua Rospondek on lead guitar. The band gives the guts and grit necessary to properly tell the stories behind Jess’ song writing; stories of Australian identity, addiction, existential crisis and the potential for healing.

Get ready to giddy up because 'Grab Your Gun' is going to take ya’ll on a nostalgic alt-country fever trip. Don your leathers, jump on that tired old horse and ride into the minds and methods of modern-day cowboys. Visualise whips cracking, chains clacking and maybe some crying violins soaring through howling, airy synths that blow tumbleweed across desert plains.
 
At Grab Your Gun’s guts are deep, gritty tremolo guitars, a sweetly melancholic bass run and orchestral drums that echo out into a never-ending horizon. And sitting above it all are sad, direct and harrowing vocal lines, calling out to the lone wolves out there who are endlessly stuck in their ‘glory days’ and the idea of making things great again.

A sexy, surge of a song about something every young person has asked themselves- stay out, or go home? 'Closing Time (music dies)' embraces the duality of shiny, bright queer nightlife (in Perth/Boorloo specifically) and the grinding need to wake up early the next morning to get to your hospo job. Crooning vocals push and pull throughout this incredibly intricate, flamenco-flavoured romp. The short track boasts a boisterous rhythm section, rollicking percussion, lavish trumpets and a ripper of a guitar solo. (Eat your bloody heart out Santana!).