When most artists choose to get introspective, they tend to wear their hearts on their sleeve. Hein Cooper, however, opts to open the door to the garage, set up the mic, and let the world listen in. Written, recorded and produced entirely by Cooper in his mum’s garage over six months, My Own is the artist’s fourth studio album and proves to be a particularly personal yet expansive work. In both sound and spirit, My Own is vulnerable and intimate yet daring and imaginative, stretching outwards and weaving indie, folk, blues and bedroom pop into a cohesive 14-track journey.
The project’s title serves as something of a thesis statement. These songs are stitched together with lived experience, released one at a time each month as Cooper processed what life was throwing at him. The result is a record that feels like a series of snapshots, somehow both rough around the edges yet totally polished, and proof that self-imposed limitations can sometimes birth the most authentic work.
Opening track “Submarine” sets the tone with an upbeat, jangly hook that’s pure earworm territory. Chugging acoustic guitars and subtle drums build into a chorus designed to linger. Cooper’s repeated mantra “it’s alright” cuts through at the crescendo of the slowly built, but high-reaching folk/pop track. It’s a smart entry point, drawing listeners in before My Own unfolds in more varied directions.
“Worst Enemy” is the first sign of that shift. The acoustic ballad serves as a confession-by-lyric that transforms into a thumping, percussive second half. Lines like “I’m frozen, I’ve never felt this scared. No I know it, I’m my own worst enemy” combine with the symphony of guitars and drums, with that duality making the record tick. The same can be said for “Rock”, featuring blues legend Ash Grunwald, where gritty southern blues guitar riffs ride shotgun beside Cooper’s cleaner indie vocal style and pop folk writing sensibilities.
Collaborations throughout the album help to keep the 14-song runtime dynamic. “Butterfly” (featuring The Happiest Kind of Sad) and “Porch” (featuring French-born artist Fuso) are standouts in this regard. The former is a tender track that combines the two artists’ voices with some of the best writing on the album, while the latter is sun-drenched and rhythmic, infused with an island vibe (and French lyrics) that injects a breath of fresh air mid-record. “Avalon”, with The Boy of Many Colours, even incorporates rap verses to really mix things up and speaks to the album’s spirit of flow and experimentation.
“Wallflower” deserves its own spotlight. A lo-fi gem with gentle guitar and falsetto vocals, it’s one of the most affecting tracks on the album. The opening acoustic guitar riff sets things off as the track unfolds into a wonderful, intimate love song. That sense of intimacy is baked into the DNA of the album’s production, which leans into its rawness without ever sounding unfinished. It has the effect of drawing the audience in even more, making it more relatable.
Tracks like “Alligator” emerge from a Louisiana bayou to hit hard and fast, while previously mentioned “Avalon” swings and swoons with its punchy piano and rap feature. Admittedly, there’s a stretch toward the back end of the album where a few tracks begin to blend together, which is an easy pitfall for any self-produced, genre-bound project. But just when you’re wondering if things are starting to blur, Cooper lands a few punches. “Smokescreen” and “98 Toyota” provide two of the strongest tracks on the record. Racking up nearly a million streams each, it’s easy to hear why. The former is simply a beautiful piece of folk songwriting, while the latter traverses nostalgia and freedom.
Closer “Sweet as the Sun” wraps the record up gently with a warm goodbye and a touch of fireworks. Going big, this banger is tucked away at the end of the 14-track journey, serving as a reminder that even the most humble setups can produce something bigger than the sum of its parts.
My Own is a testament to the power of doing things on your own terms and leaning into artistic expression. Hein Cooper delivers a project that feels raw but never undercooked, personal without being insular. While not every track stands completely apart (and the album’s length occasionally tests its momentum), the highlights are undeniable. The overall cohesion is impressive for a self-produced body of work, and Cooper’s ability to weave genres into one consistent sonic fabric speaks to his ability as both an artist and a producer. Moments of flash and sequences of restraint underline the album, and ensure it’s sincere, musically rich, and carried by spirit.
Sometimes the most affecting music doesn’t come from big studios or expensive marketing campaigns, but from trusting your instincts.
FOUR STARS (OUT OF FIVE)
My Own is out now – listen HERE
Hein Cooper is on tour throughout Australia now. Tickets available HERE
