THE GREEN CHILD has grown into four people. Originally the recording project of Raven Mahon (furniture maker and member of Grass Widow, Rocky) and Mikey Young (recording engineer and band member of Total Control, Eddy Current Suppression Ring, Shutdown 66), The Green Child now boasts Shaun Gionis (of Boomgates) on drums and Alex Macfarlane (who runs the excellent label Hobbies Galore) on guitar and synths. This invigorated quartet from Naarm/Melbourne began writing the group's third album 'Look Familiar' last year, working up demos in rehearsals, animated by having live drums present in their chameleonic sound. The Green Child still draws heavily on a refined psychedelic pop, with Raven's scenically measured vocal often shadowing the ebb and flow, but the energy of having four people in the room resulted in making the songs more upbeat.

Mikey expands on the new situation for the group, "for this record, half the musical ideas stemmed from Raven, half from myself. I felt like we discussed things more and fleshed out ideas together and brought in Alex and Shaun for their input all the time. I see it as a step forward in many ways but at times, it felt like an entirely new thing. It's inspiring to make music with others, to find a new combination of ingredients to make music feel fresh." This attitude certainly bears fruit across this extraordinary album, which sounds alive with ideas and unexpected dimensions.

'LOOK FAMILIAR'

Wow Factor

UTR167 | LP | 10 tracks | Buy

The songs gathered on 'Look Familiar' were largely informed by "reality-shifting world events" Raven admits, "the subject matter just makes its way in when it's what I'm thinking about most the time" she continues. "There are a couple of homages to family members too. 'The Lawn' is about my grandmother and the area where she lived in the desert that was a short-lived socialist commune." 'The Lawn' is a propulsive thrum of lustrous electronic escapism offset with lyrics about a factory job binding cables together for NASA. Raven continues, "these songs are more like a string of vignettes describing scenery and memories. I tried to include anecdotes I had heard about family members that I had never met as a way of memorialising them. Like that my great grandmother was a bashful quilter who would cover her mouth when she giggled." This familial/familiar thread extends to the album artwork too, painted by Raven's mother in the early 90's and featuring the image of her father at the wheel of a car.

There are many standout moments across the album's ten tracks. 'Wow Factor' is a reverie of chiming guitar lines, dizzy, scurried melodies and floating centres. Raven elucidates "it is about a few things, for one, the double standards of the international justice system, and also about caring for and protecting those that are close to you." These sentiments are echoed in the track's uneasy, inescapable feel. 'Arrows and Microtones' and 'Look Familiar' showcase The Green Child in a more reflective, expansive mode. Taking time to let the grandeur unfold into compelling new directions. 'Private Laugh' comes alive with its crushed fuzz-guitar accompaniment and swirling synth eddies, the perfectly poised guitar histrionics on 'Feet Are Rebels' are another highlight.

'A Long Beautiful Flowing Cape' unfurls with an infectious shuffling beat backed-up with a spry bassline. Shimmers of synth and twirling guitar tone provide a redolent vista for Raven's vocal about "internet interactions, posturing and distorted social contracts" to flit through. 'Year of the Books' is more strident and driving with a sturdy motorik pulse, arpeggiated flourishes and distorted shreds. This album sounds like constant renewal, never seeking comfort, its the sound of four musicians pushing each other to new heights. The Green Child have made a profusely evocative album with 'Look Familiar', one that shines like a beacon and draws us all close.

'Look Familiar' is due for release this November through Upset The Rhythm and Hobbies Galore on LP and digitally.

'SHIMMERING BASSET'

Low Desk : High Shelf

UTR136 | LP | 10 tracks | Buy

'Fashion Light' conjures up a brilliance from the first few sparks of the album, spinning dizzy dots of synth melody into a classy slice of avant-pop. Rolling live drums (courtesy of Shaun Gionis) and tuneful iridescence pan back and forth as Raven coolly intones "dark console, flashing lights, rigid stance, it's alright to go on and on this way." The song opening up a map of attractions, drawing connections together. 'Low Desk: High Shelf' follows in likewise sprightly mode. Glancing synths criss-cross, worthy of OMD, echoing off the straight-up beat, allowing Raven's collected vocal to stitch its haunted path: "see the face and feel your body sway, in voluntary walk, intoxicating view, take it home, a photograph, a file final form, a token for the shelf or wait..."

A floating kick drum sets off the shivery flurries of sound on 'Witness', featuring bristling electronic percussion from James Vinciguerra. 'The Installation' is a song about interacting with the dimensions of a new environment. Blossoming basslines and saxophone blushes sweep through its relaxed atmosphere. 'Tony Bandana' makes a break for it as a rock song, bestilled pauses and swirling breaks of beatpop psych however certainly shake up first impressions.

The Green Child acknowledge an interesting array of musical cues from New Musik via Sade to Hot Chocolate, the latter most keenly felt on the slinky groove behind 'Dreamcom'. Clockwork sequencing, drawbar organ amid bouncing guitar spirals and a lightness of vocal touch make for a potent potion. The duo cover 'Resurrection' by Canadian 60's popsmith Andy Kim later on the record, turning his orchestral 'hymn of searching' into a grandiose tower of overlapping drones, languid vocal reverb and strummed chords. Meanwhile, 'Health Farm' is awash with questing keyboard melodies, its notes speeding into each other like Boards Of Canada with the legato ramped up.

'Double Lines' draws this fascinating album to an end, seeping into the room like an apparition. It slowly gathers itself into pools of notes and a rubbery bassline, letting Raven's voice ebb and flow like a half-remembered desire book-ended in ambience. The Green Child have really climbed a ladder with 'Shimmering Basset', delivering a robust album of compelling melody, expanded vision and melancholic grandeur.

'Shimmering Basset' is due for release this October through Upset The Rhythm, accompanied by a spirited painting by Anna Savage on its cover.

'THE GREEN CHILD'

Destroyer

UTR102 | LP | 8 tracks | Buy

'Traveler' opens the album all redolent, beat-minded and labyrinthine. Twisting melody lines swirl and envelop like a sandstorm, whilst Raven coolly projects on a "solitary man" lost to "green oblivion". Similarly, 'Her Majesty II' glistens with its playful yet plaintive vocal and iridescent arpeggios, whilst 'Bertha' slows things down with tumbling chimes and stately use of space.

The Green Child are adept at atmosphere, their songs are refined from gently unfolding ideas that never fail to realise and build to their potential. Tracks like 'Walking Distance' (featuring Al Montfort on saxophone) and 'New Years Eve' are exercises in evolved composition with ideas budding off and blossoming into truly resonant dimensions. The band's cover of 'Marie Elene' (by Keith Pearson) and closing track 'Destroyer' are further crowning achievements, both pieces subtly handled with poise and ample melancholic grandeur. The Green Child fix their sights on the heights they want to reach within their songs and much like the project itself don't want to rush to the finish line. When it becomes more about the unfurling journey, why not take the time to enjoy the trip and burn slower?

'The Green Child' is due for release on January 12th through Upset The Rhythm on 180g black vinyl, accompanied by some spirited sleeve design by James Vinciguerra.