Album Review: Don’t Take Me To The Disco

Christchurch four-piece Pieces of Molly have built their reputation on delivering unapologetic, high-octane rock ‘n’ roll, and their second full-length album, Don’t Take Me To The Disco, is a fantastic example of their ethos and strengths as a band. This record sees the four-piece doubling down on everything that makes them sound so compelling. Drawing from the heavier end of classic rock bordering on metal, with the attitude of Motörhead and the swagger of AC/DC (and do I detect an ironic tongue-in-cheek a la The Darkness?), the band deliver a collection of monstrous tunes that favours volume and raw energy, perhaps over polish and restraint. But is it fun? Why, yes, yes it is.

Released on 30 October 2026, the eight-track record follows the band’s self-titled 2022 debut and continues their commitment to capturing the intensity of their legendary live gigs. Recorded at The LAB in Auckland, mixed by Chris ‘Frenchie’ Smith at Bubble Studios in Austin, Texas, and mastered by Chris Chetland at Kog Studios, the album brings together a team with considerable experience in rock production. Smith’s credits include Motörhead, The Darkness, Jet, and The Datsuns, making him a fitting collaborator for a band whose musical foundations are firmly rooted in riff-driven rock such as those bands mentioned.

The album’s eight tracks include the previously released singles Don’t Take Me To The Disco (You Call Rock n’ Roll), Alligator and Skinwalker, alongside the new single Gatecreeper. It’s a short, sharp, shock to the system with no wasted time for ambiance. Subtlety be damned, this is a rollercoaster ride. Opener Alligator is full-on-throttle frantic, beginning with a heavily compressed drum sound to count the listener in before the full spectrum explodes in vivid colour. Somehow the vocals (and responding gang backup vocals) are able to cut through the intensity, and the song drags the listener through the three minutes thirty tune with a fiery guitar solo to boot. It’s a hell of an opener and indicative of what is to come. Critically, I can’t help but think the production is just a little harsh and trebly, but really, what else would you expect?

Can’t Muzzle Me has a bluesy, 70’s inspired catchy rock riff and has a little more melody to the vocals as guitarist and singer Ewen warns the listener: “Gonna start a fire!” Musically it’s a little more complex than Alligator but the band still sounds vigorous. Skinwalker sounds a little like Lenny Kravitz’s Are You Gonna Go My Way with a catchy double beat from Kurt to keep things together and the finale features a neat little vocal melody that demonstrates Ewen’s ability at both vocal inflections and lead guitar.

Gatecreeper begins with an infectious drum intro before a guitar slide rips open the riffs to come. An impressive bridge showcases Kurt’s incredible drumming before the band returns with a last refraining chorus indicative of Jet, before another ripping guitar solo. Some shimmering effects are added to the end and some dramatic chromatic guitar lines create some tension, and another song under four minutes has ended dramatically.

The title track has a little glam rock in the mix with a simpler but effective two-note-riff. Zeppelin-esque ornate fills keep the song interesting and grooving along. Harmonized guitar between Sam and Ewen brings to mind the heavier moments of Thin Lizzy before a short, flashy guitar solo heralds the end section of the song.

I’m Gonna Drink Your Blood is no exception to the fun but the chorus lyrics of “open up your eyes it’s all the same, come with me and play a silly game, when has tomorrow ever satisfied me? I’m gonna drink the blood and sow another seed” are sung in a less severe tone. While the screaming in the majority of the songs is totally appropriate for the tunes I can’t help but enjoy these moments when melody takes precedence over energy.

Unicorn sounds a little detuned and heavier, but the upbeat, fast-paced style remains consistent. As with other songs, the listener can’t help but get inspired to pump a fist and sing along to “Break these chains that surround me!” but the screaming parts that surround these more singable parts still dominate. Personally, I’d imagine all this screaming to be absolute torture with a hangover, especially when the songs seem to be the appropriate soundtrack to the debauchery that preceded it.

Album closer All I Can See provides a welcome respite from the onslaught and gives a glimpse to the band’s other abilities. Gently strummed acoustic guitars form the basis of the song amid cymbal swells and background vocals swimming in liberal reverb. Here, the lyrics hint at the unknown, perhaps an uncertain future: “All I can see is light behind me, it’s all a masquerade, we walk in mass parade, and I don’t know if you see where I’m going.” At the point where most Pieces of Molly songs end (the tried and true three minutes thirty) the song erupts into a powerful crescendo complete with multiple soaring guitar solos reminiscent of progressive hard rock of the seventies before disintegrating into chaos and feedback with just a hint of the acoustic guitars still playing beneath.

Phew. Only eight tracks and about half an hour later, my only criticism is that the bass is more felt than heard and in the few moments when it is audible it’s more punchy than glassy (or whatever those words people use to describe bass tones). There are scant moments, except for the last track, which allows the listener to recover from any of the intense rock and hear what else the band can do apart from face-melting rock, but perhaps anything less would disappoint fans.

Do these songs make you want to see them live? If you’re a fan of hard rock in general, of course. In an age when shrewd comedians have questioned whether rock bands are in reality just t-shirt salesmen who write jingles it is encouraging to witness a record that truly encourages fans to witness the onslaught live. If nothing else, you’d know what to expect – a disco this is not.