Kate Miller-Heidke — Nightflight

Sony | discogs.com

Sweet, sincere indie balladry as performed by a coloratura soprano

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Those of us who have dipped our ear-toes into the deep, dark waters of the classical briny understand why some do not share our enthusiasm. The chilly ocean is in many ways uninviting, commonly perceived as too dense to parse, too cerebral to enjoy or too pretentious to even approach. It is no surprise that many choose instead to splash around in the sun-dappled tidepools — shallower by far, but prettier by magnitudes.

Miller-Heidke has trained extensively in the choppy seas of the Queensland Conservatorium, diving deep into precipitous operatic fathomage. And now, her muscle-voice rippling with ichor, she has returned to the shore to crush the competition. Where others are content with ripples and wavelets, her discography kicks up a frenzied, salty spray.

Violent imagery to be sure, but while her albums carve their sinewy way through the bedrock, Miller-Heidke herself is a delight — a proficient songsmith with a golden voice. And where her other albums tip the scales toward slicker indie rock stylings, Nightflight is unpretentious, honest and raw. Clear-eyed anecdotes rub shoulders with foreboding parables. A small live band offers weight and rhythm on most tracks, but the highlights are modestly scored for just guitar (played by husband Keir Nuttall) and Miller-Heidke's luminous pipes.

This voice sets her far apart from her contemporaries, whose similar songwriting is frequently let down by whispery, croaky delivery. Miller-Heidke floats, hanging weightless in the air like a single cloud in a clear, sunny sky. And when she lets rip, the effect is magical. Her sparkling upper range can freeze the blood and warm the heart. Vocal acrobatics do not dissuade, but impress, coming across as charming, even dorky.

Kate Miller-Heidke's music is not dense, nor is it cerebral or pretentious. It is simply excellent.