She’s the darling of the indie vegan lesbian crowd and I’m not even sure she’s any of those things. Fresh from winning the J Award for Best Australian Album of 2015, it’s dense lyrical stylings of Courtney Barnett.
(Song titles in caps)
Really don’t need to visit Melbourne or contemplate self harm because ELEVATOR OPERATOR transports you (by tram) delightfully into the mood.
PEDESTRIAN AT BEST? — hardly — this post-grunge shoegazer is noiserock as it should be, adorned with the ffuuuunnnnnyyyy chorus of the year.
Big Apple insomniac musings dominate a pleasant drumnstrings looping while CB paints AN ILLUSTRATION OF LONELINESS (ASLEEP IN NEW YORK).
At 7 minutes SMALL POPPIES is not so much codeine as heroin. Long, slow and, worst of all, boring. Protracted songs need multiple movements.
As an erstwhile appliance aficionado I love the coffee machine reference (Nespresso’s the best) in DEPRESTON. Brewed with understated irony.
Short sharp maritime punk pop narrative songwriting at its best as CB swims and crushes both emotionally and musically in AQUA PROFUNDA!.
I like how defiantly gay DEAD FOX is — the song, not the fox — though I am less enamoured by the subtle vegan agenda I feel is at play.
If she plans on bringing her guitar and playing this upbeat number it’s the opposite of NOBODY REALLY CARES IF YOU DON’T GO TO THE PARTY.
By DEBBIE DOWNER the formula is wearing thin and the broad monotone CB refuses to modulate hits ears like a squeaky tripod stand adjustment.
Not all songs need a vocal melody — I own four Ben Lee CDs — but some vim never hurts especially if you’re driving ~7 minutes in KIM’S CARAVAN.
By the end of Sometimes— it’s hard to discern when one song ends and another begins, such is CB’s leptosomania. BOXING DAY BLUES: ughh.