Naarm’s Georgia Knight largely wrote Beanpole – her debut album – on autoharp, which contributes greatly to its striking sonic identity.
Commencing with discordant, metallic autoharp strums and evenly dispersed, batched beats – like repeated, insistent door knocking – opener Mingle expands into a saucy minx of a track: “I covet your smile/ I covet your touch/ I coveted you undercover/ Felt I needed you so much.”
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Rockerbilly’s upbeat drums and chuffed tamba bring Peter Bjorn And John’s Young Folks to mind. Knight’s vocal delivery is transcendental here (think: Portishead’s Beth Gibbons). As for the abrasive, hissing vocalisation? We Call Upon The Author by Nick Cave & The Bad Seeds springs to mind.
Although achingly delivered, there’s defiance within humiliation on Everybody Knows My Business Now.
“I know that many can see straight into my room when the light is on/ But I don’t give a shit…” – City Gone To Seed’s scene unfolds over tranquil strumming until a pretty, pensive piano melody enters, like crepuscular rays, around the four-and-a-half-minute mark.
The trip-hoppy Desire is lyrically magnetic: “I can’t feel your love/ You’ve always been a little of a stranger/ And smoking every day/ Have you smoked your heart away?/You’ve met me at a curious time.”
Frequently-shifting radio station sounds, which hover on Belinda Carlisle’s Heaven Is A Place On Earth, open – and are interpolated throughout – Fix My Car.
Closer Cut You Loose wrestles with its titular decision (eg. “Stop looking so good in bed”).
LABEL: INDEPENDENT
RELEASE: OUT NOW
