Australian-born Alex Cameron is best described as music's answer to Danny McBride. Cameron is as much a fiction author as he is a singer, and the majority of his discography consists of vignettes penned from the perspective of the type of men that McBride embodies in his characters, whether it be Kenny Powers or Jesse Gemstone. They're crude, perverted, and constantly trying to cover up their self-loathing with arrogance.
He has Springsteen's penchant for character-building and '80s pop prowess, but his muses aren't down and out blue-collar workers. Rather, they're sleazy hustlers, manipulative gaslighters, and lurid abusers. After the occasional glimpse of sincerity on Miami Memory, Cameron's latest effort, Oxy Music, sees him recounting another set of desperate loners, addicts, and lost souls in a record reportedly inspired by the opioid crisis.
Sure, Alex Cameron writes some of the most nuanced lyrics around. His songs are acerbic, observational, dripping in irony and satire--and yet, they are deeply and confrontationally honest. But are Alex Cameron's songs still hitting the same critique-laden mark that those on his debut Jumping the Shark did? His music makes you laugh, dance, cringe, recoil, and question who the "real" Alex Cameron is.
In classic Alex Cameron form, 'Oxy Music' is full of true lyrical artistry in the most to-the-point way possible. A tale of a fictional character rather than Cameron's autobiography, the album is a little darker than his previous releases. Covering everything from drug use and mental health to the feeling of isolation, it highlights the insecurities and circumstances caused by living a life online, devoid of meaningful purpose in this end-of-the-world pandemic-era.