Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

CD: Courtney Barnett - Tell Me How You Really Feel

Australian slacker queen’s star continues to rise

share this article

Tell Me How You Really Feel: lo-fi guitar pop

If her collaborations with other musicians is anything to go by, Courtney Barnett’s star has definitely been on the rise since the release of her wonderfully titled 2015 debut album, Sometimes I Sit and Think, and Sometimes I Just Sit. Last year there was her album of duets with Kurt Vile, Lotta Sea Lice. This year her second solo effort, Tell Me How You Really Feel, has added Deal sisters and a sprinkling of Breeders magic. Not bad for someone who didn’t really appear on anyone’s radar outside Australia only three years ago. All this doesn’t seem to have filled Courtney with any joie de vivre though. Downbeat, slacker pop coloured with lyrics concerning relationship woes and generally feeling a bit low are what Ms Barnett is all about in 2018.

Neil Young-like distorted guitars and lo-fi production are largely the way of things on Tell Me How You Really Feel, from the laidback “Hopefulessness” with its woozy and listless groove and the snarky “Charity” onwards. However, it’s the two tunes with Kim and Kelley Deal and the excellent grungy punk of “I’m Not Your Mother, I’m Not your Bitch” where Tell Me How You Really Feel shines. “Nameless, Faceless”, with its jaunty melody contrasting with lyrics of angry men spewing out ridiculous vindictive from behind their keyboards, is particularly special with its refrain of “I wanna walk through the park in the dark”. It could yet become an anthem for the #MeToo movement. “Crippling Self-Doubt and a General Lack of Confidence” brings a certain Breeders-like groove to the party.

All in all, Tell Me How You Really Feel suggests that Sometimes I Sit and Think, and Sometimes I Just Sit was no flash in the pan. It’s just that Courtney might think about adding bit more variety if she really wants to reach out beyond the indie ghetto.

'Nameless, Faceless' could yet become an anthem for the #MeToo movement

rating

3

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

The genre-crossing musician brings a New Age sheen to his solo piano tribute
The London trio add toilet bowls and ugly crying to the hedonistic glamour
New York band’s blend of folk rock and psychedelia grabs attention
Northern indie four-piece offer a vim-laden snapshot of disenfranchised Britain
Ladysmith Black Mambazo and Laura Mvula shine
Garage, French House and feeling collide in latest release
A creative, inclusive, endlessly imaginative festival for families
Prolific Aussie psychedelicists marry dance and prog sounds
A soaring fusion of atmospheric melancholy and energetic punk