Album Review: Bertie Blackman - Pope Innocent X

12 November 2012 | 9:22 am | Carley Hall

All in all the album’s a cohesive and aurally fascinating listen.

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Bobbed Sydney chanteuse Bertie Blackman has made some pretty interesting music in her short time on the scene, starting out with an infectiously innocent folk sound back in 2004 for her debut, Headway. She's since made her own path as one of the national youth broadcaster's many indie darlings, altering the trajectory of her sound in the process. Skewing towards a more electronic and percussive approach brought a couple of clean, electro pop albums with popular radio favourites, and now it brings us Pope Innocent X, building on her foray into this more production-heavy sound but still with the added danger and storybook dimension usual with Blackman's lyrics.

That said, there's still plenty of playful pop galore, especially in the leading singles already garnering a stack of airplay. Mercy Killer retains the short and punchy vocal lines ever-present in previous releases, with Blackman's earnest pop squeak piping in alongside her more forceful delivery. Boy works in much the same way but with a more driving feel-good vibe, whistles, church bells and buzzing synth keeping things interesting. There's much to glean from the more downbeat, thoughtful numbers, with opener, Tremors, an ear-catching atmospheric treasure trove of layered synths and jarring textures, while Growl Howl is equally interesting with percussive vocals and Blackman's dynamic delivery sounding more like an instrument with its woody effects.

All in all the album's a cohesive and aurally fascinating listen, with charming pop gems to get stuck under your skin. Ultimately, its success lies in the presence that Blackman injects into tracks like closer, Mistakes; it's melancholy and kind of creepy with tinkly chimes, but her unaffected vocal makes it a personality-driven highlight.