Pikelet is the queen of minimal arrangement. There are barely five or six instruments on each track, but they create such an ethereal, expansive, heavy cloud of music that any musician would be jealous for possessing such a wonderful skill. Stem is the second album by Melbourne’s Pikelet (the solo project of sludge-punk act True Radical Miracle’s drummer Evelyn Morris), and what an engaging and heartfelt album it is. Where her first album was ultra-lofi (using only a floor tom, accordion and loop pedal, reminiscent of Moe Tucker’s album Playin’ Possum), Stem incorporates wispy, dreamy synth (masterfully played by kraut-rock enthusiast and ex-Ca$ino Shags Chamberlain), a full, chiming drum kit (Matthew Cox) and warm bass and clarinet (Tarquin Manek), to name just a few of the musical surprises on the album. And this is a drummer’s album. All the songs are driven by a low rumble of drums, with the vocal, synths and other instruments free to play around the central rolling percussion.

There is no hipster pretence here; this is an album made by people who have a good understanding of their instruments, who are working hardest for the song and under the guidance of someone with a real vision of her music. Marrying the lofty score, the lyrics deal with abstract ideas on learning from life lessons, existential philosophy and, well, boys.

Much about Pikelet reminds me of Stereolab, Minimum Chips, Vashti Bunyan, Tom Tom Club or even Van Dyke Park’s arrangement of Johanna Newsom’s ‘Ys’ album. Maybe even Architecture in Helsinki, but before they went indie-dance fluff (who coincidently, also have an ex-Ca$ino member play with them). Even with the pop accessibility of some of the tracks (‘Weakest Link’ is as perfect an indie pop song as you can get), the density of the motifs and musical stanzas will keep you intently listening, if not for want of meaning, then to guess where the songs will go next. Stem is steeped in the tradition of others – that is not to say this album is redundant, or an imitation, but that Morris knows about music, she has learned from her influences and has formulated her understanding into a stunning, glimmering representation of a fantastic artist and performer. From quiet folk to ambient beats, Stem successfully portrays a complex range of musical and lyrical themes that demand further listening.

Written by Dante Gabriele