Australian singer-songwriter Courtney Barnett has brought some attention to herself in the last few years with her warm and full of life indie vocal, carefree guitar playing and personal lyrics. Barnett has displayed this sound on solid EPs like 2012's 'I've Got a Friend Called Emily Ferris' and 2013's 'How to Carve a Carrot into a Rose', and now Barnett delights us with a full length in the shape of 'Sometimes I Sit And Think And Sometimes I Just Sit'.
From the nanosecond this album starts, you're put in a good mood with the upbeat and jangly atmosphere of 'Elevator Operator'. This track is gloriously messy, thrown together with childlike drumming, wonky keys and Barnett's sweet, nursery rhyme type vocals. Next is 'Pedestrian At Best' which is a more stompy number with stronger drums, fuzzier guitar as well as gripping, rapid spoken word that manically details Barnett's feelings of self-doubt with regards to how she sees herself compared to how someone else (a lover, perhaps) sees her: 'Put me on a pedestal and I'll only disappoint you'. The words say she's insecure, but sonically, she trying to make the best of it. Despite that uncertain lyrics, it's actually still a very uplifting song, once again formed by this jovial tone and the relatable song theme.
'An Illustration Of Loneliness (Sleepless In New York)' is mostly laid back with the exception of the elastic use of electric guitar in the chorus. Like a daydream in that it does very little in terms of movement, it still gives the song a significant amount of life, alongside the pleasant repetition of, "I'm thinking of you too". 'Small Poppies' is yet more drowsy with light guitar strokes and continuing themes of insecurity. 60s psychedelic influences also come into play with that hazy vibe and random note pattern. While the mood changes, the record remains warm and summery until it gets to 'Depreston', which is a shade darker. It's a nice breather from the vast fluorescence of the record without straying too far out of the flow.
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