Charming Aussie jangle pop from The Dirty Three's Mick Turner and vocalist Helen Franzmann, aka McKisco. Freewheeling and positive, it's an album that does a lot with few ingredients.
Mick Turner's last solo album was 2013's "Don't Tell the Driver", and since then he'd found himself lacking a vocalist. In 2019 he was introduced to Helen Franzmann and while the two didn't live close (Franzmann was in Brisbane and Turner in Melbourne) they ferried ideas back and forth while planning to record a session for a record. But then COVID-19 happened, and instead of scrapping the plan they collaborated remotely; Turner wrote songs using drums, guitars and synths and Franzmann sung and spoke over them, shifting their focus dramatically. As the songs went back and forth between the two, they developed into something new and completely collaborative.
Listening now, it's hard to tell that "Mess Esque" was produced by musicians working miles from each other. In fact, they've still never met face-to-face, which given the intimacy of the tracks is pretty remarkable.There's a softness to the way the two assembled this record that was maybe aided by the process; there's no showing off, just an attempt to capture real feeling as the world crumbled underfoot.
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Charming Aussie jangle pop from The Dirty Three's Mick Turner and vocalist Helen Franzmann, aka McKisco. Freewheeling and positive, it's an album that does a lot with few ingredients.
Mick Turner's last solo album was 2013's "Don't Tell the Driver", and since then he'd found himself lacking a vocalist. In 2019 he was introduced to Helen Franzmann and while the two didn't live close (Franzmann was in Brisbane and Turner in Melbourne) they ferried ideas back and forth while planning to record a session for a record. But then COVID-19 happened, and instead of scrapping the plan they collaborated remotely; Turner wrote songs using drums, guitars and synths and Franzmann sung and spoke over them, shifting their focus dramatically. As the songs went back and forth between the two, they developed into something new and completely collaborative.
Listening now, it's hard to tell that "Mess Esque" was produced by musicians working miles from each other. In fact, they've still never met face-to-face, which given the intimacy of the tracks is pretty remarkable.There's a softness to the way the two assembled this record that was maybe aided by the process; there's no showing off, just an attempt to capture real feeling as the world crumbled underfoot.
Charming Aussie jangle pop from The Dirty Three's Mick Turner and vocalist Helen Franzmann, aka McKisco. Freewheeling and positive, it's an album that does a lot with few ingredients.
Mick Turner's last solo album was 2013's "Don't Tell the Driver", and since then he'd found himself lacking a vocalist. In 2019 he was introduced to Helen Franzmann and while the two didn't live close (Franzmann was in Brisbane and Turner in Melbourne) they ferried ideas back and forth while planning to record a session for a record. But then COVID-19 happened, and instead of scrapping the plan they collaborated remotely; Turner wrote songs using drums, guitars and synths and Franzmann sung and spoke over them, shifting their focus dramatically. As the songs went back and forth between the two, they developed into something new and completely collaborative.
Listening now, it's hard to tell that "Mess Esque" was produced by musicians working miles from each other. In fact, they've still never met face-to-face, which given the intimacy of the tracks is pretty remarkable.There's a softness to the way the two assembled this record that was maybe aided by the process; there's no showing off, just an attempt to capture real feeling as the world crumbled underfoot.
Charming Aussie jangle pop from The Dirty Three's Mick Turner and vocalist Helen Franzmann, aka McKisco. Freewheeling and positive, it's an album that does a lot with few ingredients.
Mick Turner's last solo album was 2013's "Don't Tell the Driver", and since then he'd found himself lacking a vocalist. In 2019 he was introduced to Helen Franzmann and while the two didn't live close (Franzmann was in Brisbane and Turner in Melbourne) they ferried ideas back and forth while planning to record a session for a record. But then COVID-19 happened, and instead of scrapping the plan they collaborated remotely; Turner wrote songs using drums, guitars and synths and Franzmann sung and spoke over them, shifting their focus dramatically. As the songs went back and forth between the two, they developed into something new and completely collaborative.
Listening now, it's hard to tell that "Mess Esque" was produced by musicians working miles from each other. In fact, they've still never met face-to-face, which given the intimacy of the tracks is pretty remarkable.There's a softness to the way the two assembled this record that was maybe aided by the process; there's no showing off, just an attempt to capture real feeling as the world crumbled underfoot.
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Charming Aussie jangle pop from The Dirty Three's Mick Turner and vocalist Helen Franzmann, aka McKisco. Freewheeling and positive, it's an album that does a lot with few ingredients.
Mick Turner's last solo album was 2013's "Don't Tell the Driver", and since then he'd found himself lacking a vocalist. In 2019 he was introduced to Helen Franzmann and while the two didn't live close (Franzmann was in Brisbane and Turner in Melbourne) they ferried ideas back and forth while planning to record a session for a record. But then COVID-19 happened, and instead of scrapping the plan they collaborated remotely; Turner wrote songs using drums, guitars and synths and Franzmann sung and spoke over them, shifting their focus dramatically. As the songs went back and forth between the two, they developed into something new and completely collaborative.
Listening now, it's hard to tell that "Mess Esque" was produced by musicians working miles from each other. In fact, they've still never met face-to-face, which given the intimacy of the tracks is pretty remarkable.There's a softness to the way the two assembled this record that was maybe aided by the process; there's no showing off, just an attempt to capture real feeling as the world crumbled underfoot.