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MUSIC REVIEWS

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Miiesha Mirrors

After a meteoric rise, Anangu/ Torres Strait Islander R'n'B artist Miiesha Young continues to floor us with her profound songwriting, releasing the second half of a two-part project titled Smoke and Mirrors . Sadness tinges Young’s voice across Mirrors , though it's perhaps most profoundly displayed on EP opener Everything , which has her questioning: “What if I am nothing to myself?” Young also sings of her Indigenous bloodlines and intergenerational trauma on Skin Deep , the EP’s most raw but most powerful track. Minimal electronic production forms the basis of Mirrors , but diverts to a lone acoustic guitar for closing track Ready , a wistful and tender two minutes which opens the door to what might be next for this talent. (Morningbelle) Holly Pereira

FEATURE ARTIST

Call it an early-life crisis. Or growing pains. Alex Lynn is wondering about her place in the world, uncertain what to say, filled with self-doubt and unsure which direction to go. The album is peppered with references to her therapist. In Airport , she listens to a Phoebe Bridgers song, but switches it off “’cause I was jealous I didn’t make it”. In Haircut , she confides: “I’m still scared of the mean girls fromYear 8.” And she’s worried she’s haunted. It sounds bleak, but Lynn’s sweetness shines through. This is fine folk storytelling – a kaleidoscope of colours, all in a charming Aussie accent. And the overall

message is quite simple. “If you’re sad,” Lynn declares in Octopus , “you can sing along.” She manages to make everyday experiences – moving house, having a haircut, caring for a loved one – sound magical. And Airport , the tale of being reunited with a former lover, is glorious. “I’ve loved you all this time,” Lynn sings as their favourite Carly Simon song provides the soundtrack. “I am home again.” Yep, it’s been quite a trip, but Alex the Astronaut has landed a compelling second album. “How many shots till you’re all used up?” she asks. This record shows she’s got plenty of

Alex the Astronaut How to Grow a Sunflower Underwater “If you painted me, what colour would you make me?” Alex the Astronaut asks at the start of her second album. “Orange, purple, blue, who am I to you?”

shots left in the locker. (Warner) Jeff Jenkins

O'Shea Neon Soul

Interpol The Other Side of Make-Believe Dark, melodic, and slightly

“Nobody gets me like you.” A simple statement, but it says everything you need to know about this Aussie duo. Mark and Jay O’Shea have proven a potent partnership, and their creative chemistry is sparkling on their fifth album. Nashville, Indiana – about a small town in Indiana that shares its name with the country capital – is a modern country classic, a song about never having to apologise for who you are or where you’re from. The record also showcases a soulful side, with the title track featuring shout-outs to Aretha Franklin and James Brown. Then there’s Thoughts and Prayers , one of 2022’s most powerful songs, which is not afraid to address America’s gun culture. “Why am I afraid to send my kids to school?” Mark sings. “There’s gotta be more than just thoughts and prayers.” (Sony) Jeff Jenkins

haunting, lead singer Paul Banks’ voice remains as soothing as any lullaby on this Manhattan act's seventh studio album. Ducking and weaving between driving drums and wavering guitars, Banks takes you by the hand and slow-dances you through this record's polished production. While carried as always by a lingering sense of uneasiness that is distinctly Interpol, The Other Side of Make-Believe also offers some undeniably cathartic and optimistic moments that conjure memories of the band’s debut. Blessed with beautiful harmonies and intricate lyricism, theis record stands as proof Interpol remain a band to keep up with. (Matador) Jacqui Picone

FEATURE ARTIST

Phil Jamieson Somebody Else

It’s been a big year for debut solo albums by Aussie rock legends. Hot on the heels of Chris Cheney’s LP comes the similarly impressive solo debut for Grinspoon’s Phil Jamieson. “If you could be somebody else, would you?” he asks in the title track, which opens the record. Not that this a

reinvention – there’s enough rock here to satisfy the hardcore Grinspoon fans. Jamieson’s voice is at the forefront of the record, which was co produced by Holy Holy’s Oscar Dawson. It’s perhaps been underrated over the years, but Jamieson has a great pop voice – check out Lights Out , which sounds like a fusion of Weezer and The Doctor’s work in The Fauves. It’s a treat. Overall, it sounds like Jamieson had a ball making this record, and that translates to the listener. (Cheersquad) Jeff Jenkins

56 JULY 2022

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