Review: Australian singer hailing from the Blue Mountains of New South Wales, Julia Jacklin, resurfaces with a third album following Don't Let The Kids Win (2016) and Eastwick / Cold Caller (2017). Opening with arguably the album's most afflicting number, "Body", Jacklin's voice almost inhibits an Edith Piaf-like quality, somewhat shaky but resolute. It's far from a forlorn listen though, and while "Pressure To Party" may lament such things as fun, it adds an upbeat rhythm to the album's more down beat numbers, be they "Don't Know How To Keep Loving You", to the lowly piano and voice solo of "When The Family Flies In". Touching on the hallmarks of a true romantic, Jacklin's music is melancholic as ever, but with her vocals only adding to the warm embrace of the instrumentation, "Crushing" should melt a few hearts yet.
Review: Jay Som is the pseudonym of Bay Area native Melina Duterte, a multi-instrumentalist who creates wistful and breezy indie-pop. At only 22 years old, it's astonishing that there's such a strong certainty and confidence in the sound Duterte's already developed. 'Everybody Works' is her second record, following 2016's collection of demos 'Turn Into'. What's so remarkable on this album is how comfortable Duterte is in crafting delicate dream-scapes on tracks like 'Lipstick Stains' and 'Remain', before flipping it upside down with the crunchy west coast garage-rock of '1 Billion Dogs' and 'Take It'. This record is a strong statement, and considering her youth, it's highly likely that whatever Melina Duterte puts her hand to next is bound to be exciting.
Review: Many Of Montreal fans, long bewitched by mainman Kevin Barnes gender and genre-warping way with psychedelic pop, may be tempted, on hearing that his latest record dabbles with EDM, to run away from 'Innocence Reaches' as if their hair were on fire. Yet this would expressly be a mistake - after at least two records that seemed to confuse their audience by tying the more direct and seductive aspects of Barnes' songwriting in ornate knots, 'Innocence Reaches' - which is in actuality close to some celestial collision between Prince and Crystal Castles - shows him both venturing beyond his comfort zone and getting back to what he does best, resulting in the most satisfying Of Montreal record since 'Hissing Fauna, Are You The Destroyer'.