Human Frailty

Human Frailty is the fourth studio album by Australian rock band Hunters & Collectors, which was released on 7 April 1986.

Human Frailty was released on 7 April 1986 and is the fourth studio album by Australian rock band Hunters & Collectors.

[3][4] Seymour later told Tracee Hutchison: "I remember having a discussion with [Miles] and [Falconer] in a beergarden at the Standard Hotel in Fitzroy, and I said 'Look, you know, we should try and make a commercial record if we want to take things seriously in the long term.'

Records also re-issued the album in a CD format, including all three tracks from the Living Daylight extended play (April 1987, Australasia-only).

On 20 September 2007, SBS in Australia aired a one-hour documentary on Hunters & Collectors and Human Frailty as the part of their Great Australian Albums series.

In May 1986 Pollyanna Sutton of The Canberra Times reviewed Human Frailty, she felt that their "early rythmical [sic] drum beats, abstract music and sometimes inaudible lyrics have been turned around to produce [the album], something of a showpiece for lead singer, Mark Seymour".

[15] Fellow Australian music journalist, Ed Nimmervoll, noted "Seymour's themes of alienation and sexual politics came to the fore" with this album.

[16] He described how the group "had discovered how to tap the unique vein they had unearthed; where, in a sweat-dripping venue packed to the rafters with a beer swilling macho rock fans the audience would and could at the top of their voices unselfconsciously sing along to a chorus like 'you don't make me feel like a woman any more'".

[4] Allmusic's Steve Kurutz saw the group had "finally discovered their true strength; a balance of bass and drum-driven grooves set below punchy horns and counterpoint melody lines".

[6] Its three authors, John O'Donnell, Toby Creswell, and Craig Mathieson, praised "the immense power of [Archer's] bass and [Falconer's] drums set against Seymour's inventive guitar playing ... the songs were still esoteric , the massive bottom end made [them] an increasingly popular band around the pubs".