Album Review: Montaigne – Glorious Heights (2016 LP)

It feels like Montaigne’s debut album, Glorious Heights, has been a long time coming. Yeah, she’s been in listener’s ears since being unearthed back in 2011, but it’s not like she’s spent the past five years sitting back resting on the laurels she created as a high schooler.

Some might not have blamed her if she did; it’s a pretty impressive feat to have had national radio play whilst in year 10. By comparison, I was earning $9.70 an hour picking up golf balls having just got a band 6 in Year Ten Geography. While some people’s career trajectories may have peaked whilst still a teenager, Montaigne’s has only continued to skyrocket.

The artist formerly known as Jess Cerro, Montaigne has released one of the most art-pop and gloriously beautiful albums in recent memory. It’s one of the albums that you can sit down, listen to and genuinely just really enjoy the moment; whether for its music, vocals, lyrics, themes, or a sweet combination of them all.

Opening track and album title, “Glorious Heights”, is a stellar opening track. From the opening notes, the distinctive enunciation from Montaigne fills your ears with aural gold and the promise that the next 50 minutes is going to be a super juicy jaunt. The music in itself, is quite simple, which proves to be a strength through out the album. The drumming, horns and vocals are the reason “Glorious Heights” is probably in my top three songs on the albums. Montaigne’s vocals are outstanding, to put it bluntly.

“In The Dark” was released earlier in the year and was one of those tracks that continued to grow on the listener, despite initial concerns upon first listens. Having now heard the whole album, “In The Dark” definitely makes sense in the context of the album. Up next, is “Till It Kills Me”, which is a triumphant track that is pretty much a big ‘up yours’ to those problems everyone faces, that feel momentous and overbearing at the time but upon reflection, aren’t worthy of your worry. Eventually, you’ll get better of the situation. It won’t kill you.

“Because I Love You” is just a straight up, pop gem sandwich. This is quickly becoming my favourite single of 2016, with its self-reflection on a failed relationship being the focal point of the track. It showcases the lengths people are willing to go to in an attempt to overlook problems one might face with their significant other. The introduction of strings is a simple, yet effective use of added instrumentation. Horns and strings appear once more on “What You Mean To Me”; as the track builds over its four minute run, you get the feeling it’s a victory song.

Slowing things down on “Consolation Prize” and “Come Back To Me – Interlude”, both songs are self-reflective, which nod once more to struggles within a relationship, or perhaps self-esteem and self confidence.

“Come Back To Me” and “Greater Than Me” both have an 80’s synth feeling to it, while showcasing alternate viewpoints to “Consolation Prize” and “Come Back To Me – Interlude”. Specifically on “Greater Than Me”, Montaigne discusses her search for a better version of something with the repetition of the lyric, ‘I’m looking for someone greater than me//that’s what I want to be.’

Prior to listening to the album, I hadn’t really considered any comparisons that Montaigne had musically with other artists. Upon listening to Glorious Heights, I’d like to think she’s been influenced vocally by early Regina Spektor, Florence Welch, and musically by Sigur Ros (especially through the use of horns and strings).

If there’s possibly one drawback to Glorious Heights, it could be the difference in styles between “Clip My Wings” and the rest of the LP. As the first taste of the album, coming a year ago, it’s fair to understand how it could sound so different to the rest of the album. “Clip My Wings” is probably still one of my favourite tracks on the album, though.

“Lie To Me” and “Lonely” help to start closing out the album, with the latter proving to be an exploration of one’s self in attempting to work out what’s best for you. It’s a simple mantra and message, but is quite possibly the easiest track on the album to relate to.

Closing out Glorious Heights with “I’m Behind You”, the track is a soaring ballad that showcases the strengths of Montaigne’s vocal range. Throwing in a cheeky hidden acapella track in “The Debt” to finish off the album, Montaigne successfully broadcasts to the listener an artist that knows a thing or two about writing a really good pop song.

Working with producer Tony Buchen, Glorious Heights is a momentous beginning for an artist I’ve followed pretty much since her unearthing on Triple J. As a reviewer, I’m pleased Montaigne has lived up to the promise she has shown over the past few years, but as a fan I’m more than stoked she’s created such a strong debut. Her career has really only just begun, and its trajectory is only on the incline.

Review Score: 8.4 out of 10. AU-APPROVED

Glorious Heights is out August 5 on Wonderlick.

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