A powerful EP with its substance far deeper than what its four tracks belie. Each tune could be the basis for an entire album. The stylistic and atmospheric culmination of each song could be broken down into its constituent parts and reassembled in full to produce whole works of art. The opener ‘Death day (Sing To Me)’ gently nudges the door open into the world of First Day of Spring. A flickering beat accompanied by slow horns and keys paves the way for an atmospheric build. Stopping abruptly, the immediate commencement resumes with a light overlay of ghostly vocals before the track comes to a resounding end. The call and response, male and female commentary at the start of ‘Moon Boy’ which features snippets of the Charles Baudelaire poem ‘Be Drunk, gives way to soothing strings that are punctuated with sharp highlights. Paired with soft textures, a richness of both electronica and reverb blend effortlessly with the strings. The nursery rhythm xylophone of ‘Normal Person (Love You Forever)’ is met with a fuzz that is more of a fizzle. That fade of a relationship and a parting of ways. Perhaps as brief as the relationship, the track is short but resonates with one simple message, love you forever. On the other hand, ‘Operation’ bolts out of the gates and merges all aspects of electronica, synth and guitar into a strong fusion. Confident and flowing, the track exponentially builds with keys as the vocals keep pace in this fast-moving track.

6 / 10

Traversing the stylistic globe, Breanna Barbara amalgamates genres, scrambles them and fashions something entirely new. The opening two tracks Diamond Light and Landslide take in everything from surfer psych-rock through to fuzzed-out synth disco. Nothin But Time is the title track and one that embodies the essence of the whole album. Written as a love letter to New York City, her ode to the Big Apple is adorned with lyrical iconography and stands tall amongst a collection of tracks that each in their own way are big tunes. The galloping pace of songs such as Rise are tempered with gentile and tender tunes like Old Soul. An exquisite follow-up to her debut Mirage Dreams and as sophomore records go one of the finest to grace our turntable in years.

8 / 10

Melbourne artist Elizabeth Drummond steps out on her own after the success but the ultimate end of her initial outfit Little May. The plucky opener of ‘Crisis’ kicks off with a basic Casio drumbeat and narrative lyrism. Accompanied by steady guitar, the track sets the tone for the rest of the EP and what is within Drummonds bag of music tricks. The imploding fuzzed-out sounds of ‘Congratulations’ with its seething lyrics showcases Elizabeth’s sonic strengths. Bruised and brooding it highlights just what one woman, a guitar, and a bitter memory can conjure with spitting precision. The delicate opening of ‘Underground’ is tender in its delivery. Fused with minimal electronica and open chords, the angelic vocals of Drummond have their chance to shine. Subdued and simple, the folk stylings of ‘Bullet’ is a gentle ode. Aided by heartfelt cello and slide guitar, the countryana track is a beautiful and honest piece. Mixing some minimal beats and blending more of a traditional pop song, ‘I Lied’ stays true to Drummond’s naive approach following a simplistic but authentic style. Rounding off the EP, ‘Love My Way’ the Psychedelic Furs cover retains the essential eighties feel but paired right back, its solitary nature matches perfectly with Drummonds aesthetic.

6 / 10

It may only be a paltry three-track EP but what Ora Cogan lacks in quantity is well and truly made up by the quality of each tune. As we have come to expect with all her work, the compositional finesse and exquisite layering of each instrument with harmonious precision is a beauty to behold. The self-titled ‘Dyed’ is a perfect case in point. A Middle Eastern-flavoured guitar lick permeates throughout with a hypnotic and attention-focusing clarity. Ora’s angelic vocals glide over the rhythmic clicking that holds the track true and steady as descending synth’s float downward. Covering PJ Harvey’s ‘To Bring You My Love’, the vacant space that Ora creates is remarkable when considering the original and how she strips it bare. Like a lost soul wandering an ancient desert, as covers go, Ora has delivered a beautiful and timeless tribute to such an esteemed artist. Amongst the hiss and static ‘Diver’ emerges from a sonic shroud. A backbone of distortion and minimal guitar becomes bathed in aural warmth as it washes over Ora’s vocals before ultimately drowning out everything to the exclusion of the solitary guitar.

6 / 10

Achingly beautiful, deep, soulful, and elemental. The ease at which Samana takes your soul on a spiritual journey is frightening. An immersive album that lifts off immediately and meanders delicately through ten atmospheric tracks. It traverses the ebbs and flows of time and emotion before gently arriving at his destination and letting the listener depart having had a rich and soulful experience imparted upon them. Basic in its construction, therein lies the skill and subtlety of the record. Consisting simply of vocals, electric and acoustic guitar along with occasional strings, the mood the duo of Rebecca Rose and Franklin Mocket create is striking. One does not even need to listen to the lyrics or burden themselves with the sentiments being expressed throughout the album, it is simply a sonic and solitary experience just listening to the harmonious and exquisite synchronicity of Rose and Franklin echoing one another. This album could have been produced one hundred years ago or one hundred years from now, it is ageless and a touching piece of work that elevates the listener to a greater place, a greater sense of it all and asks for nothing but offers so much. A remarkable record.

8 / 10