Cassandra Jenkins - My Light, My Destroyer (2024)

INDIEVOTION RATING: 9.4/10

Holly Arrowsmith - Blue Dreams (2024)

Hannah Mohan - Time Is A Walnut (2024)

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.

Hannah Mohan writes about it in her songs in quite a sophisticated fashion, leaving behind all those almost unbearable used and abused songwriting clichés. Her songwriting is far from being song after song the commonly recurrent sobbing and whining or the licking of wounds in the attempt to heal the deceptions of a love that found itself in a cul-de-sac and unexpectedly ended that we often come across in breakup albums. Mohan does quite the opposite as the album songbook unfolds: she is imaginative enough to deliver the listener sorrow and existential love drama in a glittering plate, where its even possible to feel the humorous wit that often characterizes Mohan’s songwriting confessions. She managed to compose a delicately melodious songbook with some anthem moments that sugar-coated the acidity of grievance undeniably, giving it a distinctive characteristic while achieving unquestionable lyrical maturity. In “Time is a Walnut” Hannah Mohan gives room to the unraveling of the curtains of romantic rupture and serenely wide opens the windows to a renewed spirit throughout the twelve songs featured on the album. Things can be terrible at times, but they should not remain that bad forevermore.

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?

INDIEVOTION RATING: 9/10

Baby Blue - Of My Window (2024)

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: 8.7/10