Hannah Everingham's third album was recorded live in two locations around Lyttelton and Banks Peninsula, including the former home of children's writer Margaret Mahy. The setup was guitar and vocals, drums, and bass, with occasional percussion. Josh Logan engineered. The result sounds loose and confident, with dub delays and dance rhythms sitting under Everingham's voice and her textured guitar work.
She writes about Judi Dench, crabs, earthquakes, shopping in New York, a lover who pulls flowers up roots and all. The tone is both mystical and offhand, delivered with a kind of deadpan warmth. Rhythms push forward while guitars melt together. There are nods to post-punk, psychedelic folk, pop-rock. The band follows her writing closely but leaves room for improvisation.
This is for people who liked her previous records and anyone drawn to conversational singing over patient grooves. It moves between shadow and brightness without forcing either mood. The playing is unhurried. The songs hold together without needing to resolve neatly.
