Last updated 13th June 2004

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Review from REVOLVER 1.4.98

There's times in life when the warm yet sombre hand of melancholy ensnares you in it's grasp. It could be a case of yearning for a loved one, a moment of introspection or the anniversary of the death of your beloved cat Snooky, but in times like this you seek music that reflects these pensive musings and consoles you in your thoughts. Then again, you might just be after a particularly good record to listen to on a breezy Sunday arvo. In both cases, Margot Smith's latest album TASTE, will suffice.

As the liner notes and collection of photos inside the album cover testify, TASTE burns with an intensely personal edge that underscores the fourteen tracks that comprise Smith's first offering since her split with EMI some years ago. There's a luscious sense of mood here, of sorrow, loss and hope, sustained throughout the 40 minutes that sweeps the listener up in its headspace. Smith's vocals range from the bold to the seductive to the plaintive, teetering on the edge of a well of personal introspection that is mirrored in the emotive, evocatively layered instrumentation courtesy of a legion of talented musicians, including members of the Church - Steve Kilbey, Tim Powles and Peter Koppes.

HOPE burns with eerily intricate guitar line and understated menace, while Bleedmore is stained with verses like "The deal's been done, you'll have to pay/For the smiles I used to give away". TOTALLED is more upbeat, more radio-digestible but just as infectious - a peak before the compelling haunting of PROFIT. Along with the likes of The Whitlams, Margot Smith paints life and music in Sydney's inner city with vivid, heartfelt shades, adeptly capturing beautiful melancholy on disc.

      **** by Jason Truen.

 

From Revolver Magazine: (Bleedmore review)  "Sinuous and sensuous, great black loops of steaming bass urging into the void, and then Margot's voice climbing through the mist to arch strongly against the back of the groove as the anger of the lyric illuminates the charcoal atmosphere of the tune. Bleak but sexy, horny but haunted, desperate but desirable. That's not me, I'm talking about the song. Sorry I'm starting to get carried away. If I'm not careful I'll embarrass myself again. Buy this tune because its good."

 - the single guy, Revolver Magazine