French philosopher, Michel de Montaigne was renowned for his ability to merge casual anecdotes with intellectual insight. Similarly, Jessica Cerro, better known by stage name Montaigne, has an innate knack for converting her personal stories into a universal song state.
Taking her sound to Glorious Heights, Montaigne’s debut studio album is the result of incredible consideration and carefully positioned tracks, encapsulating the local artist’s spellbinding and sincere performance style.
The title track launches the record into soundscapes compacted of triumphant percussion and star-dazed synth notes. As Montaigne sings,“I have the need to rescue myself because I’m much too afraid to ask somebody else,” it’s inherently clear that the track derives from an inner-battle for self-assurance and strength. A rising star in the Australian music scene, the singer/songwriter’s opener is nothing short of inspired.
With ripping electric riffs, Till It Kills Me’s chorus is incredibly climactic, the feedback fuelled rhythm and Montaigne’s ethereal vocal performance forming the perfect pair. Determined lyrical content, “I will try, I will try, I will keep on fighting till it kills me” continues the running theme of victory throughout the release.
Consolation Prize sees Montaigne strip back her sound to a piano-led ballad. The transitional song bleeds sorrow, emphasised through an aching string arrangement and airy backing vocals. Telling the tragic tale of an abusive relationship Montaigne croons,“There are no bruises to cover, the bleeding’s internal/ I’m told to be quiet so no one knows I’m dying, no one knows he’s lying.” The stirring song pouring out as though every word is powered by the pain of the past.
With it’s own interlude, Come Back To Me showcases the singer’s vocal range with an a cappella performance. Montaigne unexpectedly introduces some ’80s inspired, dance-evoking synth tones. The album is officially brought into the land of electro-pop with follow up track, Greater Than Me.
At first glance it seems that the nine and a half minute long I’m Behind You, closes the album – all is not as it seems. Montaigne’s hidden track The Debt sneaks in at the six and a half minute mark. Worth the wait, it features an instantly emotive vocal performance with absolutely no instrumentals. A voice that’s as transfixing as it is transforming, Montaigne carries the last few minutes of Glorious Heights without a hitch, soaring to an entirely new level.
BY PHOEBE ROBERTSON
