Since their formation in late 2005, Sugar Army’s swift advance beyond limitation and expectation can only be explained by their electrifying live set and near-psychotic musical threads sprung from the depths of their dark minds. Born, bred and misshapen in the dreamy slumber of Perth, Western Australia, Sugar Army is the nightmare that makes the drear of suburban living bearable. Their debut EP Where Do You Hide Your Toys was unleashed on the nation this year through new WA developmental label Good Cop Bad Cop, via Inertia Distribution. This is a band that will shatter your preconceptions as well as your nerves.
With the lengthily named lead track ‘…And Now You’re Old Enough, I Think That You Should Know’ receiving a generous flogging on triple j and community radio airplay across the country, the Sugar Army garrison only gathers strength. Already decorated with a triple j Next Crop Artist accolade, four 2008 WAMi Award nominations (including the prestigious Most Popular Act) and a slot on the 2007 Big Day Out, they’ve also played shows with the likes of Interpol, Wolf and Cub, Children Collide, Something for Kate, Expatriate, Gerling and Eskimo Joe, supported fellow Perth rockers Little Birdy on their national tour in March 2008, supported Gyroscope on their national album tour in May 2008, and have just been invited to open for Gyroscope again on their massive 36 date, 6 week national tour in August / September 2008, with Shihad as main support.
"Opening with the anthemic “…And Now You’re Old Enough, I Think That You Should Know”, Sugar Army’s Where Do You Hide Your Toys EP is the sonic eclecticism of dance rock done right for once. The label doesn’t do their sound justice though – the West Australian four piece are at home channeling anything from the Cure and QOTSA to Muse, with vocalist Patrick Mclaughlin’s distinctive pipes cutting over gritty riffs and leading unfailingly into shout-along choruses almost guaranteed to make Sugar Army a killer live act. “Jigsaw” is discordant and layered with jangly guitars and falsetto while “Maybe The Boy Who Cried Wolf Was Just Paranoid” is the sleeper, with a dirty driving rhythm, weird choral overdubs and brilliant percussion. The other half of the album, please – and soon." - Rolling Stone (May 2008)
"Four on the floor dance rhythms stutter in math rock explosions while the dueling guitars carve slices out of concrete and the boys scream and sing and scream over the top. If you think you liked Cut Copy, the Midnight Juggernauts or any of those other unfortunate Australian hipster bands, get ready to have your teeth knocked out." - Beat Magazine (February 2008)