An impeccable debut by Prochet - as far as psych albums go this is top tier. Listening to it in 2021, it’s hard not engage this album through the lens of Prochet’s subsequently troubled 2010s (writers block, her accident, struggles to pop back in the scene, etc) and as a critical piece in the jigsaw puzzle of Parker’s developing sound (reputations 4/4 snare hits clang, bass lines thump, a low fidelity iteration of his production tropes we’ve come to know as emblematic of his sound).
Sometimes I wish the psychedelic freak-outs which close out several of these tracks gave a bit more way to Prochet’s gorgeous vocals - on side A, in particular, the run time of instrumental jams and vocal passages feel nearly equal. Side B is a welcome addition as we start to witness more metric modulation, some synth lines that are a bit more chilled out in tone (the entire thing really sears with some harsh tones in the higher frequency range). Anecdotally I’ve heard some of those tracks were finished while Prochet was alone in Perth while Parker was out touring Lonerism, which makes sense. As strong as side A is (some of the best singles are on there), the tracks sometimes blended together a bit in tone without enough of her vocals to maintain my consistent interest.
Again, a lot of the mythos of this album as it’s discussed today retroactively gives Parker so much credit that it comes at the expense of Prochet’s agency as songwriter and performer - this deserves a bit of historical correction. Clearly she is a visionary, while Parker’s influence is also undeniable - both things can be true at once, but let’s not act like this album would exist if she wasn’t involved. Infitnitely grateful for this magical debut she brought us.