A record that flourishes through subtle elegance...
Joanne Robertson’s body of work celebrates the understated and embraces the muted. The Glasgow-based artist is also a painter, imbuing her music with a vivid, visual quality – the sketch-like sounds often evoke charcoal drawings due to their stark authenticity. ‘Blurrr’ – what a fitting visual reference! – marks her second album for AD 93 and her sixth album overall, and it may very well be her most powerful work to date.
With improvisational chants, ‘Blurrr’ excels in balancing free-spirited creativity with more structured songwriting. Ideas jostle at the periphery of their surroundings, poised to explode into vibrant soundscapes. The soft opening track ‘Ghost’ establishes the mood – you find yourself drawn closer to the speakers, its subtle nature creating a quiet intensity.
‘Why Me’ is as fragile as a spider’s web, while the slight baroque embellishments in ‘Friendly’ evoke memories of Jessica Pratt’s recent music, albeit with a distinctly DIY flair.
An artist who has established deep connections within the UK avant-garde scene, Joanne Robertson collaborates with Oliver Coates on several tracks here, with the London musician assisting in production and arrangements. ‘Always Were’ is wonderfully enriching, and ‘Gown’ possesses an ethereal beauty.
‘Doubt’ stands out as one of the most formal tracks, possibly the highlight of Joanne Robertson’s collaboration with Oliver Coates – it captures dream pop in a delicate haze, imbued with a hymnal quality.
Rounding off with the luminous ‘Last Hay’, this is an album that deserves close attention. Rejecting flamboyance, ‘Blurrr’ almost demands focused listening, reminding you that every moment is significant. A subdued gem, Joanne Robertson’s restraint elevates ‘Blurrr’ to new heights.
8/10
Words: Robin Murray
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Joanne Robertson's catalog delights in the understated and welcomes the subtle. The Glasgow-based artist is also a painter, and there’s a strong, highly