The Weekend Australian - Review - - Music Reviews - Emily Ritchie

Su­per­cry Emma Louise Lib­er­a­tion Hav­ing al­most quit mu­sic in 2013, Bris­banebased al­ter­na­tive pop songstress Emma Louise has re­turned to the in­dus­try know­ing ex­actly how she wants to be heard and seen. For her sec­ond stu­dio al­bum, Su­per­cry, she has painted the cover art, de­signed her cos­tumes and been at the fore­front of the mu­sic video con­cepts. The en­tire Su­per­cry pro­ject show­cases an ex­pan­sive range of her ca­pa­bil­i­ties. Louise is an artist of du­al­ity: she’s si­mul­ta­ne­ously del­i­cate and pow­er­ful, emo­tional and with­drawn. Su­per­cry, like its name, em­bod­ies this du­al­ity, travers­ing a broad emo­tional pal­ette of heart­break, loss, self-em­pow­er­ment, new be­gin­nings and nos­tal­gia. It’s not a com­plete de­par­ture from her de­but al­bum, vs Head vs Heart (2012), but it cer­tainly con­tains a more ma­ture and con­sid­ered sound. Su­per­cry opens and closes with ethe­real re­flec­tions, All We Ask is Time and I Thought I was a Ship, which are in­fused with wispy har­monies and sparse pi­ano chords. Things in­ten­sify in be­tween, as tracks Talk Baby Talk and Il­lu­mi­nate pulse with com­mand­ing beats, elec­tronic flour­ishes and even a bit of vo­cal drum­ming (hums, clucks and pops). The al­bum’s first sin­gle, Un­der­flow, and other songs in­clud­ing Shut the Door and West End Kids, again sym­bol­ise Louise’s du­al­ity. They are eerie and gen­tle but un­du­late with deep rhythms. Above all, it’s Louise’s voice that truly shines. It com­mands at­ten­tion with its raw, hon­est tim­bre. This is Louise’s first al­bum with a record la­bel and she was cau­tious about be­ing cre­atively boxed in. But Su­per­cry is tes­ta­ment to her cre­ative gusto; she has main­tained her flair for au­then­tic song­writ­ing and quirky melodies in an al­bum that con­tains by far her strong­est work to date.

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