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The world over has long been fascinated by the delicate sound of female indie-pop-rock vocalists and in recent times the emergence and following of artists such as Lykke Li, Bat for Lashes and Bertie Blackman speaks volume for the popularity of this genre. Sarah Blasko, who has long reigned supreme in the Australian hierarchy of female stongstress’ who deliver against the brief for soul-filled and thoughtful musical vibes, reaffirms her place with As Day Follows Night, which is a warm and reinventing album. All twelve tracks throw a deliberate punch, almost challenging you to not feel the heart-break that the lyrics and the way they are delivered suggests you should. This is, in part, due to tracks being peppered with blues-y influences but also because Blasko’s lyrics offer a sense of honesty that makes her music easily relatable. It’s not surprising to learn that Bjorn Yttling, better known as one third of pop-assembly Peter, Bjorn and John, was a driving force, confidant and partner of Blasko’s during the writing and production process for this album. The raw and real sounds that has been filtering out of Scandinavia in the last few years (think organs, strings and the like) are easily identifiable in the layering on the tracks, which make listening to this album an absolute late afternoon pleasure. As Day Follows Night is packed full of evoking and sensitive sounds, that make the album absolute magnetic music for many the heartbroken, summer hippy or those looking for something better than the dance-track rework many chill out session albums deliver. Benchmark the album against the first commercial release – All I want – it absolutely gets better.

Aussie songstress Sarah Blasko recently returned with her 3rd full length offering, titled As Day Follows Night. The album art and the presentation of the album reflect the musical content of the disc: beautiful, delicate and attractive. The album is a beautifully orchestrated collection of tracks featuring Sarah’s very beautiful, very pretty vocal on each track. Standouts include the beautiful balladry of Down On Love, the spooky sounds of All I Want, the inherent catchiness and warmth of We Won’t Run and the marching band vibe of No Turning Back. The epic mid-track of the album, the 6 minute + Sleeper Awake is undoubtedly the centre of the album, with its soft instrumentation and beautiful effects. The tribal, jungle vibe of Over and Over is also a personal favourite. The darker edge of Bird On A Wire also lends the album an element of diversity. The percussion on I Never Knew also helps lift the album’s quality significantly. Whilst some tracks, such as Lost & Defeated and Night & Day do bring the album down a little, overall it’s a very pretty album with the potential to make quite a lot of people take a lot more notice of Sarah! This was my first exposure to Sarah’s music, and I’m rather impressed!