Lady of a unique and fascinating voice Sarah Blasko returns to the past, revisiting it, in what is her seventh studio album: “I Just Need To Conquer This Mountain” and her first as an independent artist.
A return to the mountain of time that has passed, a mountain so often too steep and tortuous that it rises before each one like a presence that crushes and crushes.
“I Just Need To Conquer This Mountain” is also a magnificent return to an essential way of being that emphasizes and in what way all of Sarah Blasko’s brutal natural talent.
“I Just Need To Conquer This Mountain” offers us a lineup of powerful songs with revivifying lyricism, almost salvific in a Christian sense, capable of cinematically transporting the listener to different levels of emotion.
Two decades after debuting with the album “The Overture & The Underscore”, Sarah Blasko continues to evolve her artistic talent and has certainly produced one of the most beautiful albums of 2024 on a global scale.
Since its formation, Desperate Journalist has consistently released some of the most modernly compelling music in the renewed Post Punk genre without repeating itself from album to album, sticking the band to a sonic formula and letting it go.
Throughout their discography, the band has managed to deliver something different on each album, making it more consistent than the previous one in terms of composition, instrumentation, Jo Bevan's vocals, the crucial presence of Robert's guitars or the fabulous rhythm section composed by Caz and Steve.
The feeling that the listener and loyal fans of Desperate Journalist get is that they are not a mere collection of different individuals, each with their own abilities, but a unit that works like a band should always work and that is absolutely remarkable and displayed unequivocally on all of his albums, although it seems to be most clear on “Maximum Sorrow” and particularly on “No Hero”, his most recent, majestic and great sonic leap.
Album after album, the question has always been what Desperate Journalist will do next, because the previous album was already so good. And once again after the extraordinary “In Search of The Miraculous”, “Maximum Sorrow”, they moved forward with what can somehow be considered their simultaneously most ambitious, daring and mature album compared to what they did previously yet without move away from the path they have taken so far and which places them among the most renowned bands not only in the United Kingdom but throughout Europe.
In terms of the creative process, the approach to composition and the elaboration of each song with the introduction of various electronic elements (read synthesizers and drum machines) clearly acted as a turning point because the atmosphere created on Desperate Journalist's new album surpassed whatever expectations one had regarding what they would be able to produce on their fifth album of originals. The band has gained depth, the songs are more textured and there is an atmospheric density that combines perfectly with the guitars and the rhythm section.
We know that when integrating a band into a musical genre like Post-Punk we are probably committing some exaggeration since, in a way, after Punk, all bands became Post-Punk in some way, although there are certainly some characteristics that help to define some bands as being more in line with the Post-Punk genre, in its classical understanding, than others.
Desperate Journalist is one of them and currently on the UK music scene and even globally they are certainly one of the most prominent representatives of the genre, as well as the band that seems to be effectively contributing to an aesthetic readjustment of Post-Punk, integrating into its creative process some aspects that have always been present in some way in this musical genre, such as electronic temptation.
When listening to “No Hero”, their most recent album, this idea gains ground: we can almost identify one by one the bands that seem to have influenced the concept of this magnificent new album by Desperate Journalist. The band's most recent album demonstrates beyond any doubt that Desperate Journalist are undeniably one of the most consistent and brilliant contemporary bands because let's face it, there are certainly very few bands that can boast of having produced five practically immaculate albums over the years. which have evolved just enough so that all albums have their own identity, circumstance and temporality without sticking in an undifferentiated way with their predecessor.
In “No Hero” Desperate Journalist has produced one of the most precious, exciting, superb and lyrically important batches of music of 2024. There are ten breathtaking songs on an album that constantly begs us to play again. And with each new listen, new emotions and more enchantment. A musical treasure. The best album of the year? Most likely, yes.
"Clouds In The Sky They Will Always Be There For Me" is a cathartic album where the songs explode with poetic energy that spills out into a genuine ode of euphoric indie rock made of fury and intimate reconciliation. Well done Dana Margolin.
"When desire loses its direction - without any person or object to fixate on - it has a strange tendency to direct us towards the past."
These words that can be read in the introductory note of Emma Russack's latest album "About The Girl" genuinely remind us of a famous song that is sung like this: "When the routine is difficult and emotions are low and resentment rises, but emotions they don’t grow and we are changing our paths, taking different attitudes.”
Not that Emma Russack, who almost two decades ago made a brilliant version of "Love Will Tear Us Apart" makes any attempt to sound like Joy Division, quite the opposite. Emma Russack in “About The Girl” sounds like someone who replaced the resentment that often accompanies the end of relationships and romantic breakups with self-reflection, a situation that once again brings to mind, now no longer Joy Division, but that famous Socratic phrase cited by Plato in which it is stated that “the unexamined life is not worth living by a human being”.
“About The Girl” reflects precisely this dive into self-reflection, into the investigation of a meaningful life through past events and individual circumstances without allowing itself to be confused with the mere nostalgia that is present in the album.
This is probably one of the main reasons for the highly seductive collection of songs that Emma Russack has composed for her sixth album. “About The Girl” was built and based on simpler and more acoustic musical structures, after all perhaps the most appropriate approach when looking to look at the past to uncomplicate it. It is also interesting to note that the introduction of some electronic and rhythmic elements in certain songs helps to reinforce the atmosphere.
“About The Girl” is once again an eloquent demonstration that Emma Russack is indisputably one of the most relevant names in the contemporary generation of Australian musicians.
The album cannot be compared with the previous ones, namely "The Winter Blues", although some songs touch on the same themes and question similar concerns, but "About the Girl" is particularly different because it denotes, from the opening to the final track, a more mature approach to Emma Russack's recurring problems, both lyrically and musically.
A very balanced, cohesive and coherent album that offers a very rewarding listening experience and a handful of standout songs like "Everything is Big"; “In 2001”; "I know you feel this way too", "This isn't free" and "Time". Overall, "About The Girl" is one of the best albums of the year to come from the so-called Australian music scene and beyond.
The Waeve, formed by Rose Elinor Dougall and Graham Coxon, established themselves immediately after their debut album as one of the most stimulating, aesthetically coherent and consistent musical projects on the current UK music scene.
With the release of their second album “City Lights”, if there were any doubts about The Wave's excellence, they completely dissipated. This is afascinating album, made up of a very homogeneous collection of songs that offers the listener a mix of delicious sounds in moments of pure magic.
Since the first album, The Waeve has shown what it came from, what its musical references are and the tremendous difference that a genuinely powerful human and loving connection between the duo Dougall - Coxon can have in the construction and consolidation of a successful musical project.
“City Lights” is undoubtedly one of the most successful and rewarding poetic and musical moments of the year. An album that is an authentic nostalgic ode to a certain lost paradise. Superb!
I believe I have to begin writing this review of Hannah Mohan’s “Time is Walnut” by explicitly saying that I am and will remain a huge admirer of And The Kids. They are beyond any doubt as one of my Coups de Coeur bands, and honestly, there are not many bands in this category. There are many bands that we like a lot, and then there are those we would take until the last breath on Earth.
Despite And The Kids called it a day about four years ago which was quite bitter news although not at all unexpected find myself going back to their full discography and playing it on a loop for a whole day no matter the season of the year we’re in or if the blues are kicking in or if the sun is gorgeously shining on the seaside.
And the Kids music is just like a place out of Narnia that has some uplifting and nostalgic blend of addictive vibes, some kind of universal connection, a communication that one can relate to just like it was part of the soundtrack of your adventurous living experience and that fits in the ups and downs of existence. While listening to And The Kids, some often sense that their music frequently sounds pretty much like some euphoric ode to life, no matter how strange this may feel.
Taking into account what has been said in the above paragraphs it looks almost needless to say that for someone who knows And The Kids discography in-depth Hannah Mohan, out of any bias, deservedly stand as one the most fascinatingly brilliant singer-songwriters of the under thirty fivers generation of contemporary North American musicians.
So it would be only natural that she could choose other sonic adventures in the aftermath of her former band's final act. At first, under the moniker of Topsy and after that under her name, Hannah Mohan began working on new songs and probably did play them live as well as shared them on streaming platforms it was only natural that the day to announce her first solo album would almost necessarily arrive in a rather spontaneous way and so it happened.
In April, she gladly shared the most awaited good news that her debut album “Time is A Walnut” would be out on July 12th via EggHunt Records. This was assuredly a relief for all those who cherish her musical endeavors and her unique poetic approach to the intricacies of modern life.
“Time is a Walnut” effortlessly affirms itself as one of the best albums so far this year. One can easily listen to it a handful of times in a row without feeling bored but quite the opposite because each new listening unveils new details in each song that just like flowers blooming to full bloom which only serves to make Hannah Mohan’s debut album an amazingly rewarding aesthetic experience. She seems to have attempted a careful, precise, great shot on target with this wonderful album, and she undeniably achieved the goal. Mission accomplished with honors!
“Time is a Walnut” is a collection of twelve very well-crafted songs with abundant lyricism that is one of Hannah Mohan’s common characteristics where the listener will have some difficulty in choosing a favorite song among so many good ones.
The album has songs for different moods: some are more groovy and electric while some others are more laid back and push for psych-folk though at the end of the day what you got is Hannah Mohan’s trademark of great singing and songwriting and not many artists can claim to have their style so well-defined.
“Time is a Walnut” offers the listener a high-profile track list with many gems and standout songs. It is an immensely rich album, in which the masterful production capabilities of Rubblebuckett’s Alex Toth are to praise.
“Time is A Walnut” is without sweetening the pill a post-breakup album and about how to process such emotionally demanding circumstance from the shocking surprise to resentment and momentarily escaping from reality to cope with the inherent fragility these situations drag within them. As a full-circle breakup album, “Time Is A Walnut” guides the listener through the whole process of rehabilitating your emotions from the aftershock.
Being a post-breakup blues album, “Time is a Walnut” is such a gorgeously uplifting and melodious beauty that must push the listener to quasi-mandatory repeated listening. The uplifting vibe present in Mohan’s debut solo album comes not only from the way she writes about the turbulence, anxiety and emotional pain but also from the rich arrangements of the songs and particularly from that extra touch of brassy trumpeting that soaks the album with both nostalgia and a hopeful groove. Amazingly done!
What would you possibly say of an album that offers to the listener a collection of songs suchlike the title track itself, “Therapist”, “Soaked”, “Heaven And Drugs”, “Hell”, “Runaway”, Peace Be The Day”, “Upside Down and “Rebel”? Delightful, right?
Baby Blue, a Melbourne-based band, originally started as the solo project of Rhea Caldwell. Rhea, who was previously the lead guitarist for American musician Michael Beach (now based in Australia) and also played bass in the band of the renowned Gena Rose Bruce, laid the foundation for Baby Blue. After the solo phase, the band evolved into a quartet, including members from Courtney Barnett’s band, the Coastbusters, and 19th Century Strongmen. Over time, new members joined and others left, resulting in the current quintet structure.
Their music reflects a convergence of different musical sensibilities, leading to a sound that continually evolves from one record to another. If you listen to their EPs “In My Mind” (2017) and “Do What You Like” (2018) in sequence, you’ll better understand the nature of their artistic journey. And now, with their debut album “Of My Window”, Baby Blue has achieved a more consistent, coherent, and ambitious level of aesthetic-musical maturity. It’s all about the details! If you haven’t already, I recommend giving their music a listen—it’s a delightful journey through their evolving sound!
Baby Blue, a Melbourne-based band, has undergone a fascinating evolution. Their music reflects a convergence of different musical sensibilities, resulting in a sound that continually evolves from one record to another.
Let’s break it down: despite changes, Baby Blue maintains its initial musical DNA rooted in the late '60s and early '70s. Think of the ye-ye movement, Phil Spector’s girl groups (like The Ronettes and The Crystals), The Byrds, and collaborations between George Harrison and Ravi Shankar. Over time, Baby Blue’s sound gained an electric dimension. Elements of surf, garage, blues rock, and jangle pop blend with contemporary influences from the '80s and '90s. In their EP “Do What You Like” (2018), you’ll recognize influences from the '60s and ‘80s. For instance, the song “I Like You” echoes those eras. And keep an ear out for The Stone Roses’ presence (intentional or not) in “Fire and Ice.”
Now, their debut album “Of My Window” is a beautiful leap forward. It’s a must-listen! If you haven’t explored Baby Blue’s music yet, I recommend giving it a spin—it’s a delightful journey through their evolving sound! “Of My Window”, Baby Blue’s debut album, is a sonic masterpiece where every element falls into place naturally. The excellent production by Jesse Williams leaves its mark, not only on the guitars but also by highlighting the band’s collective strength. Each member of Baby Blue contributes specific details that enhance the overall sound.
Unlike those forgettable albums that lose their charm after a couple of listens, “Of My Window” is a delightful journey. It strikes the perfect balance between listener satisfaction and the desire to hear it again. Rhea Caldwell’s melodic and versatile voice adds an unmistakable trademark to Baby Blue’s songs, making them immensely enjoyable.
Among the album’s eight well-achieved and poetic songs, tracks like “Hills Hoist,” “It’s a Match,” “Closer Babe,” “Daisy Chains,” and “Human Race” breathe the same good air found in the brilliance of artists like Grant McLennan, Jack Frost and The Church, The Lucksmiths, Dick Diver, The Go-Betweens, Courtney Barnett, and Girlatones.
“Of My Window” is addictive—it deserves more live experiences not only in Australia but also across Europe. Let’s hope we won’t have to wait long for more Baby Blue concerts!
INDIEVOTION RATING: 9/10
