On
this, Clancy has spread her stylistic wings on an album which still has forlorn folky acoustic moments (on
Only Lonely One
and
The Knife
) but which is impressive for its grander ambitions.
Those are announced with the dreamy slow-fused opener
The Best
, and continue with the baroque/Kate Bushesque pop of
When I Do
, while the shades-of-Radiohead title track later gives this its biggest dynamic surge. Add the grim but tuneful social observation of
Ghost Town
, about life on the dead end streets of her old neighbourhood, Foxton, and the maternal lament of
Baby Blues
and you've got the makings of a serious set.
Except Clancy balances her more earnest efforts with sunny, feelgood pop tunesmithery - whether it's the Motown bounce of
Join the Chorus
, the homesick-potential-airline-jingle
Southern Cross
or the rather twee
Mixtape
. All of which makes for an album that's initially unsettling for its split personality.
But emerging from its stylistic wanderlust are many terrific songs, robust performances, and some beguiling production (from engineer/co-producer Andre Upston). She might have proved she had the songwriting chops on her debut album, but here Clancy is striving for something bigger - and for the most part pulls it off.
Russell Baillie
