Australian singer-songwriter Emma Louise has produced an intriguing album in Vs Head Vs Heart. Source: Supplied
ALBUM OF THE WEEK: Emma Louise recently performed a stunning, Korg Kaoss Pad-spiced cover of Alt-J's Tessellate for Triple J's Like A Version.
It showed the world where the diminutive Brisbane lass will take her career: chimerical songs built on taut studio beats, bleeps, stabs and synths, all carried forward by her lilty-but-not-wilty voice.
On a sidenote, Emma Louise has done what Silverchair did on their first record: dropped the lowercase shenanigans to stand up and be counted. Smart move, lady.
Brighter Later, Owl Eyes, Ainslie Wills and now Emma Louise are following in the footsteps of Sarah Blasko and Sally Seltmann before them. Genre-wise, this could be called everything from minstrel-wave to folk-step. And while, at times, things are too slight for their own good, bands such as The xx have proved that if you build it, they will come.
Opener 17 Hours rises out of the mist like The Sirens in O, Brother Where Art Thou?, then Atlas Eyes shifts gears with the light touch of a Radiohead album track, right down to the OK Computer background garble (American shrinks chanting "Understand your emotions"). Pontoon takes Beach-House-being-seduced-by-Chris-Isaak-guitar and makes it tremble with a tremolo, as if Laura Palmer's body has just washed up and Pete Martell doesn't know where to look.
Things move into deliciously fuzzy TV On The Radio territory on Mirrors, which sounds like it has Dave Sitek's paws all over it. Care to produce her next record perhaps, Mr Sitek? As it stands, Matt Redlich (Ball Park Music) has done a commendable job chopping down the jungle to get to the heart of Emma Louise's sound. Vs Head Vs Heart is a record you need to invest in: it'll take at least five spins before a Sherpa appears to help trek right into the mountains of your mind.
> Album of the week: Emma Louise - Vs Head Vs Heart (MGM)
Rating: 3.5/5
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> LATEST RELEASES
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Bilal Oliver isn't as mythologised as that other neo-soulster D'Angelo but, then, he still puts out records and is touring here in May.
Bilal's third album, its title inspired by Salvador Dali, simulates the undulations of a love affair.
Hailing from Philadelphia, like Jill Scott, Bilal traditionally specialises in '90s hip hop soul as exemplified by the single Back To Love but he's also an experimenter, being buddies with Flying Lotus. The synthy Longing And Waiting is closer to The Weeknd's illwave than retro R&B. Bilal even strays into psychedelic rock (Winning Hand, which is a bit Steve Miller). Bilal is at his most compelling when, leaving behind neo-soul's mellow grooves, he goes epic, like Slipping Away an exquisite Prince-ly ballad with climatic guitar.
Sounds like: Bohemian Rhapsodies.
In a word: expansive
Rating: 3/5
By Cyclone Wehner
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LIFE'S oddballs can come and go but the truly talented hang around and refine their eccentric visions, acting as both the student and the teacher before your very ears. The Venezuelan American artist is lucid and alive on his eighth record, coming off as a new-school Rodriguez with supple grooves instead of masked anti-establishment anger. The former beau of Natalie Portman has got it made in the shade, glad to be sad because he knows life is rad. Who else can infuse lines in Hatchet Wound "I wanna sing a song and make her feel crazy, Make her forget she always forgets me" with joie de vivre. Unknown Mortal Orchestra and that's about it. Banhart's finally grown into himself. Why don't you let him stay on your couch for a while? These days he washes his feet and makes a mean couscous.
Sounds like: Going to San Francisco with flowers in your hair.
In a word: sexy
Rating: 4/5
By Mikey Cahill
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Many artists claim to be expansive. This British newcomer (and tastemaker fave) really is. How about a soul record that spins through hip hop, IDM, showtunes, psych-folk, hymns, orchestral, choral and even renaissance music?
The classically-trained Mvula, working with Rumer producer Steve Brown, might be the UK's Janelle Monae. Green Garden, with a subversive hint of auto-tune, has the handclaps and swing of Tightrope. But the tuneful Like The Morning Dew sounds like Lauryn Hill journeying in time to a '60s folk festival with Kanye West her drummer. Then on the harp-laden Is There Anybody Out There?, Mvula threatens to become the avant Shirley Bassey. Moonraking, indeed.
Sounds like: Total eclipse of the art.
In a word: stellar
Rating: 4/5
By Cyclone Wehner
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IT'S nigh impossible to avoid a "Product Recoil" when a) looking at the cover of Sticky Fingers debut record; b) reconciling the cover with the band's name. Sticky Fingers? Realllly? But don't judge a book etc. because this is a competent, confident debut album from a band who are not Limp Bizkit meets Rolling Stones, no, they're more Salmonella Dub crossed with Cold Chisel. Yes, realllly. This isn't cerebral fare, song titles are titled, um, Sex, Freddy Crabs and These Girls and mostly revolve around getting higher than the clouds but they do it well and remain true to themselves. Debuted at 48 last week too!
Sounds like: Halftime beats at halftime
In a word: Byron
Rating: 3/5
By Mikey Cahill
