Pikelet Pikelet by: Kieran O’Shea Mon:25-Jun-07 Label: Chapter Year: 2007 WB rating 85 out of 100

Pikelet’s debut album has revealed one of the most original and innovative talents to emerge from the Melbourne circuit. Taking time off from beating the skins for heavyweights Baseball and True Radical Miracle, Evelyn Morris has turned the volume down from 10 to two; showing her impressive abilities as a multi talented instrumentalist, and the intricate inner workings of her kaleidoscopic songwriting imagination.

In a music scene burgeoning with new eclectic talent Morris has carved herself something wholly unique. Armed with only a loop pedal and a mere smattering of other instruments, this one woman band has drafted in elements of folk and noise, painting nursery rhymes and tribal hymns into her own individual sound. On top of this background her layered harmonies are feed through the loop; sonically drifting through the songs in dizzying effect.

The beauty and simplicity of Pikelet’s loop pedal is it’s effortlessly and skilful execution, demonstrating that many tiny parts and repetitive melodies can grow and meld into something far more complex. Opener ‘Bug-In-Mouth’ employs this method, as Morris wistfully considers counting the bugs she eats in her sleep, rather than the typical leaping sheep scenario. Her accordion rings first as layered harmonies cascade, only to vanish, allowing her to sing alone alongside rim raps and delicate drum patterns. The structures do seem considered but there is an underlying hint of improvisation, room for experimentation and going against the typical verse/chorus patterns.

Similarly with the more unsettling tribal rhythms of ‘A Bunch’ her impressive vocal range dances with reverb and remains a constant backing instrument. The ghostly presence of her repeatedly singing “you’re here now” is hypnotic and blown bottle tops and bells add deliciously innovative touches.

It is small touches such as these that ensure the constant looping never becomes too repetitive, remaining wholly engrossing. Accordion, classical guitar, a floor tom, glockenspiel, claps and clicks are all in the arsenal, and with her percussion experience she constructs intricate rhythms that draw the listener deeper over the course of a song. Noise art carries the stigma of dividing listeners; some scratch their chins, while others only scratch their heads looking for the car crash. Pikelet’s subtle approach to her work and her mastery of the pedal makes her ‘noise’ a more accessible and easily digested approach to experimental music.

Tracks like ‘Size Matters’ with its gentle guitar, and strolling organ support her high range harmonies, weaving a tale about a tiny little boy on the outskirts of the world because of his size. During ‘Sewerage Man’ she pleads with the protagonist to find her long lost dead goldfish who took the obligatory swim around the u-bend. Such innocent themes capture the imagination and depth of Pikelet’s song writing. Morris’ fanciful characters, however, are at all times measured and Pikelet never becomes too cute. While ‘Princess Matilda’, the tale of a girl staring in a mirror all day, lacks the punch of her other songs, seeming half hearted, on the whole such lyrical content never detracts from her abundant ability.

The end of the album extends out dramatically, shifting in mood. With its title possibly making a humorous reference to how her music may be misconstrued, ‘It’s Not Childish’ delivers a deep throated accordion drone as Morris’ voice rolls like waves, reverb heavy and with an ethereal quality. What can only be described as a musical landscape is awash with ghostly vocals that fade and reappear with rising strength. Similarly, the gypsy dance of ‘Tamarin’ continues to accentuate her elements of noise art, both accordion and voice elongated throughout tribal beats.

With Pikelet, Morris has allowed her imagination to run free on both lyrical and musical content, and has also tempered this with an unmistakably song crafting maturity. In cynical times it is a refreshing experience to hear such honest and rather innocent music; listening to the sweet harmonies and romantic waltz of ‘They Call it Love?…Wow’ it is impossible not to have the pants charmed of you and your heart warmed.

Even at the half way mark this is an album sure to top the end of year lists for best local album of the year.