When Melody Pool released her debut album, The Hurting Scene, in 2013 it felt like
a new seam of gold had been discovered in the hills of the Hunter Valley.
Hailing from the small town of Kurri Kurri, Pool had honed her talent young and
produced a record of incredible beauty and maturity.
She doesn’t live in Kurri Kurri any more, but Pool’s musical
output is not, apparently, defined by where she lives because she has produced
a second album that has obvious roots in The
Hurting Scene yet is quite different – and just as beautiful.
The direct descendants of Deep Dark Savage Heart seem to be the lines ‘What a waste I am/What
a waste I am indeed’ from the second song of The Hurting Scene, ‘Open Book’. The lines are incongruous in that
song, which otherwise sounds poignantly evocative. The lineage is picked up in 'Black Dog', the fifth song of the new album, which is the centrepiece of this
extraordinary, compelling piece of work; it’s there in the line ‘Nobody sees what I do
to me’. ‘Black Dog’ is dramatic where ‘Open Book’ almost wants to hide from
itself, but the development signals that Pool is ready, finally, to accept what
is obvious: she is a major talent, and she should get dramatic about herself.
She should stand on pedestals and command attention; she should trust that what
she is offering is valuable and rare.
If The Hurting Scene was
a mature effort from a young woman, Deep
Dark Savage Heart is a sophisticated production from a proper grown-up.
Pool’s voice is deeper and richer than it was on the first album, although no
less capable of the sweetnesses that were evident on that album.
I wrote of the The Hurting Scene that it made me almost immediately want to lie down and wonder
what on earth had just happened. Deep
Dark Savage Heart had the same impact. I’ve still never recovered from the
first album, I don’t expect to recover from the second, and that’s the
privilege of living in a world that produces an artist like this. Melody Pool
is a gift.
Deep Dark Savage Heart is out now through Mushroom.
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