Alexander Gow has been left as the sole creative force behind Melbourne’s Oh Mercy, releasing Great Barrier Grief under major label EMI. Such changes have evidently affected Oh Mercy’s sound, and it seems that former member Thomas Savage has taken the bands edge along with him.
Great Barrier Grief is a sweet blend of acoustic pop, laden with soft airy vocals delivering tales of love and longing via Gow’s honest songwriting. Upon first listen the album presents itself as a wash of acoustic driven pop rock, the tracks seemingly molding together, and by the fifth or sixth listen not a whole lot has changed.
Opening track ‘Stay, Please Stay’ is an obvious single choice and arguably highlight of the album. Its steady beat compliments Gow’s breezy vocals and you’ll be tapping your feet and singing along in no time. The track sees the introduction of the Marimba, adding a little flavor to the somewhat stripped back instrumental arrangement.
‘Stay, Please Stay’ is comfortably followed by ‘Keith St’, displaying similarities in structure and instrumentation. The track opens nicely, bouncing along with a steady bass line and once again will have your foot tapping through the verse. However come chorus time the song progresses little, as we are seemingly pushed through a lazy vocal melody by the incessant bass line. The track showed great potential in the early stages, but its lack of development is its downfall; a precursor to the rest of the album really.
Elements of 2009’s debut LP Privileged Woes are positively revisited in ‘Let Me Go’ and perhaps vaguely in ‘Blue Lagoon’, however Great Barrier Grief lacks the colour and vibrancy of Oh Mercy’s debut, presenting itself as a somewhat lazy album in comparison.
‘Doldrums’ suitably closes the album, with Gow’s vocals dreamily caressing the soft 6/8 guitar accompaniment and resonating piano chords. Its minimalistic and sombre approach providing a welcome relief from the acoustic pop that dominates the album, concluding Great Barrier Grief on a positive note.
Great Barrier Grief is too sweet and safe an album, washing over you unnoticed in a wave of unchallenging acoustic pop. A good album at best.