Australia’s Cong Josie roars back onto the scene with his sizzling sophomore effort, Moto Zone, a relentless rumble of EBM, synth-punk, and rock ‘n’ roll with a touch of doo-wop dynamism. Josie cranks up the intensity from his 2021 debut, pushing his M.O. into new, more audacious realms. The beats pound harder, the energy escalates, and a slow sleaze groove seeps in, wrapping listeners in a siren’s seductive embrace.
With rockabilly vocals clashing with EBM grit, Josie’s cheeky charm lightens the otherwise dark, noir-ish lyrics, inviting fans into a shadowy, sin-soaked sanctuary. His Aussie accent and eclectic influences carve out a vivid, surreal world, with echoes of Alan Vega, David Lynch, The Birthday Party, Fad Gadget, Adam Ant, Boomtown Rats, Deco, and The Gun Club weaving through his sound.
On Moto Zone, Cong Josie revs up a raucous ride through rock ‘n’ roll’s raw underbelly: a gritty realm of roaring motorcycles, sleek hot rods, and the sticky sheen of leather and pomade, all seen through a distinctly Aussie lens. His confessional lyrics lay bare a landscape of addiction and mental strife, a map of his jagged past. Cong claims the “Moto Zone” mirrors his manic daily grind: a life fueled by ADHD, late-night work sessions, and a relentless diet of black coffee. His music speeds through these shadows, seeking solace and a sense of connection. Ultimately, Josie’s tracks aim to hit the high notes of bliss and transcendence amidst the chaos, carving out a new world from the wreckage.
The album kicks off with Sik Sharp Stomp, a tune that slithers in like a back-alley deal, oozing sleaze with every note. It’s a filthy little dance number that makes you feel like you’ve stumbled into a David Lynch fever dream. The saxophone howls like a wounded animal, while the spoken word cuts through the haze, giving off a vibe that’s equal parts Lou Reed snarl, Gun Club swagger, and the caustic wit of The Fall. The sax wraps itself around the beat, seductive and dirty, while the vocals grind out like they’ve got nothing left to lose. This is no polite invitation—it’s a command to move, a call to get down and dirty, and a reminder that some dances leave scars.
Lucinda takes a step back, sliding into a slower, Suicide-tinged ballad with an echoing sax that lingers in the air like smoke. Cong Josie’s voice drips with desperation, pulling you into a trance with each passionate plea. Wild Light wades deep into Angelo Badalamenti waters, floating on synth pads that feel like an 80s fever dream. Chimes punctuate the air, adding a touch of whimsy, while the call-and-response chorus between Josie and the ladies gives the tune a haunting, nostalgic rhythm that hangs in the balance.
Razor Stepper Racer is a stumbling, disoriented haze, leaving you dazed but grinning like a fool. It’s got that eerie psychobilly edge, with hushed whispers and manic panting creeping through the track like secrets shared in the dead of night. The whole thing smacks of Alan Vega’s chaotic cool, as the horn section wails like banshees, adding a manic energy. It’s unsettling, but there’s a delirious joy in the madness, wrapping up the ride with a sly wink and a final, twisted groove.
The album concludes with Angel Heartbreaker, a languid and Lynchian dream. It features minimalistic and melancholic tones, pulsating with a bleeding heart. The song’s nervous beat, clicking sounds, and almost a capella vocal delivery, along with soulful backing vocals, create an unsettling atmosphere. It concludes with whispered spoken word poetry, serving as an unnerving denouement to Cong Josie’s finest full-length outing yet.
Listen to the album below and order here.
Cong Josie is the hedonistic alter ego—and anagram—of Nic Oogjes, best known as the bandleader of the heat-beat ensemble NO ZU. Nicolaas describes embodying the Cong persona as a chance to dive deep into his own psyche, unearthing whatever lurks beneath the surface. It’s a plunge beyond the realm of the ordinary, dragging reality into the wild, exaggerated world of hyper-reality where anything goes.
A number of collaborators, known as The Hell Racers, return for this round. Cayn Borthwick, aka Johnny Cayn, co-wrote most of the tracks and played a wide array of instruments throughout the album. Mona Reves (Simone Page-Jones) and Milla McQueen (Camilla McKewen) lend their powerful vocals and heavily influence the album’s overall feel. Athina Uh Oh from Gut Health adds her voice to the zeibekiko stomper, Do The Tarantula, while Con Kalamaras, Naarm’s Greek rebetika hero, brings out the bouzouki for Crime Time TV. Madoula Mouskouri (Maddie Otto) and Sashi Dhahrann round things out with their contributions on Lucinda, 1300 Scorpio, and Crime Time TV.
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