Penny Ikinger : Penelope

As a member of Louis Tillett’s Wet Taxis, Ikinger’s edgy guitar playing was a critical element in the vibrant Sydney ‘80s rock ’n’ roll scene that emerged in the wake of Radio Birdman. Ikinger’s solo debut, Elektra, confirmed her status as a songwriter and performer in her own right; save for her recruitment into Kim Salmon’s eponymous, eight-headed rock ’n’ roll hydra, her contribution to Australian independent music remains undervalued – in her own country, at least.

Penelope is Ikinger’s long-awaited follow-up to Elektra. Whereas Elektra exhibited a sprawling rock ’n’ roll character, Penelope is – by Ikinger’s own admission – a pop album, replete with all the hooks and melodies the discerning punter wants from such a musical beast. Witness the opening track Into The Slipstream (co-written with Brian Hooper) with its elegant, psych-infused licks and rumbling back-beat, the pulsing rock ’n’ roll journey of Montana To Mexico or the garage sludge-pop of When We Get To The Land.

Stripped of her bag of reverberating effects, and Ikinger’s brand of torch song – here Fragile and Heart Song – haunts like a moment left unfulfilled. On Impossible Love, Ikinger offers up a rock-imbued pop track of impeccable quality; Down The South Road is a down and dirty rock ’n’ roll statement worthy of the finest New York loft.

Ikinger’s diverse supporting cast – including former Radio Birdman guitarist Deniz Tek, Vinz Guilluy (Holy Curse, Dimi Dero Inc), Dimi Dero, Andrew McCubbin, Clare Moore, Dave Graney and Mark Ferrie (Models, Sacred Cowboys) – ensure Ikinger’s sonic explorations are as eclectic as they are rich.

There’s a neat symmetry in Ikinger’s choice of label – The Wet Taxis were part of John Needham’s once voluminous Citadel Records community. But the enduring quality of Penelope lies far beyond symmetry and symbolism: this is pop music with a cutting edge.