Owl Eyes :: Face

Faces is the debut EP from Melbourne songstress Brooke Addamo, who’s appointed herself the apt moniker “Owl Eyes”. As an icon of wisdom, the owl might seem an incongruous symbol for the fresh-faced nineteen year old. But precocious is exactly the word to describe Addamo: it’s hard to believe that Faces is the work of someone so young, with its tight coherence and operatic scope.

But its vision is one of youthful innocence, with Addamo’s breathy vocals and folky naivette. It’s sugar-coated, whimsical pop, with a fairy-tale feel. Just like a fairy-tale, Addamo paints with her poetic lyrics and ethereal sound a beautiful, enchanted world. A fantastical realm of “fireflies dancing in the moonlight” where “even in the snow there’s beauty made of crystals”. But like a fairy-tale, there’s a sinister undertone, as Addamo whispers of fires and werewolfs, in the lyrically dark “Faces” or the haunting “Fire Hotel”.

If you’re not into cutesy, romantic visions, the album won’t be for you. But given the popularity of a plethora of female singers like Sarah Blasko and Feist who use this formula, Faces should find fans in droves. Comparisons to Blasko, Feist and others like Clare Bowditch and Lisa Mitchell are frequently levelled at Addamo. Like Mitchell, Addamo was once a pretty, Australian Idol contestant, singing manufactured, hollow pop songs on reality tv. Like Mitchell, she’s ditched that with relief to write her own rustic, folk-pop songs. But while she may trek territory already charted, you don’t really care, because Addamo does it so well.

The strength of the album is its effortless pairing of Addamo’s lilting, raspy voice with the synth underlay. This credit belongs to producer Jan Skubiszewski, whose hip-hop background (Cat Empire, Phrase) can be seen in the rich layering of instruments and drum beats. With strong beats underscoring Addamo’s sweet melodies, the songs keep you engaged and run along at a steady pace, avoiding the potential for the melodies to drift along aimlessly. Each song feels tight and polished. As a whole, the album does too: only the track “Dancer” feels like filler. Here, the equilibrium between synth and vocals that the pair had mastered is lost, with the synth overpowering the melody. With the synth racing at a frantic pace and repetitive lyrics, “Dancer” loses the tranquil quality of the other tracks. It’s intended to be a break-away track, but it doesn’t work as well.

The title track, “Faces”, would have to be the stand-out song. The deep synth perfectly complements the catchy melody. This is the song you put on repeat. Like the other tracks, the instruments are richly layered and inventive, with Skubiszewski throwing in tinkling cowbells, glockenspiels and harpsichords. Their cascading sound adds to the magical feel. “Paper Planes” will be well received, with the upbeat keyboard melody and naïve subject matter creating a delighted, carefree atmosphere. “1+1” is a light love-song, featuring the same energetic keyboard and the signature tinkling of bells.

Contrasting all this blissful whimsy is “Fire Hotel”: melancholic and studied. Its lyrics are dark; reflective and wistful, and Addamo sounds a lot like Julia Stone at her finest. Skubiszewski has layered her voice over itself in the chorus producing a haunting harmony; the evocative lyrics sear into your mind.

As a debut album, Faces is an impressive offering. While not exactly original, it is hard not to be enchanted by Addamo’s delicate voice and mystical imagery. The cover of the EP is a kaleidoscopic vision of dappled sunlight illuminating an ancient tree. The tracks are as kaleidoscopic as the album art: a vast array of instruments are whirled together, and a dream-like result is produced.

••••••••••••••••••••••••••••••••••••••••••••••••••••••••

7.5/10 Stars.

Highlights :: 'Faces', '1+1' & 'Fire Hotel'