The groups brainchild, vocalist and guitarist Sophie Harris, capitalises on her barking theatricality across a composition that captures raw energy and poised tones, accentuated by shuffling post-punk grooves with violins sweeping around the title track. This becomes the main atmosphere that Modern Woman focuses on throughout Johnny’s Dreamworld. By emphasising the dynamics between power and sensitivity, they wind up setting the stage for Harris’ prowess.
The London based art-rock project, first established as Harris' songwriting vehicle before expanding to include violinist David Denyer, bassist and saxophonist Juan Brint-Gutiérrez, and drummer Adam Blackhurst, use their sonic dynamics to entail the underlying struggles of women who are stuck in strained relationships.
Yet, Harris plays it all out with a sneering coy that works wondrously on songs like “Neptune Girl”, where she can play tongue-in-cheek in her songwriting. Besides that, when her lyricism tips into the darker cadence of “Folk/Heart”, encountering an uncomfortable situation with her partner’s father, her lower register bellows, allowing the hook to sound stern and grim.
That overall strength in her musicianship continues to
amplify when the songs are equipped with raw, tantalising flair.
“Offerings” and its minimal basslines eventually open up to layers of
violin accents, charged rhythms, and noisy breakdowns. “Blessed Day”,
the heaviest song on the album, is stuffed with joyous melodic charm,
only carved further with the presence of Juan Brent-Gutierrez’s
saxophone swirling around the mix. Then “Killing A Dog” even things out,
crafting a consistent ebb-and-flow towards its quaint and energetic
moments, just before it goes all out at the very end.
What tips the scales toward its weakest moments are the
album’s intimate spots. They still carry a place within Harris’ writing,
acting as reflections of her character's journey throughout, and
exposing the vulnerable pieces needed across the arc. Yet, they don’t
sound as captivating, becoming more conventional rather than distinctly
stirring. “Dashboard Mary” gets close to working with the wispy synth
and the organs that lead to the frenetic instrumental breakdown, but it
doesn’t allow those moments to be prominent across the song. The closer,
“The Garden”, unfortunately ends the album in unexciting territory. A
simple, haunting ballad that reminisces about the protagonist’s deceased
partner, whose voice still lingers within her mind. Yet the overall
execution is dull, weighed heavily by muted melodies, with Harris not
exactly capturing the sadness in her performance and lyricism.
But for all the stumbles in its softest moments, Modern
Woman’s debut offers more potential than it doesn’t. Sophie Harris
carries a delightful charm as a performer and songwriter, one that works
best when the album leans on its heaviest side. She and the band might
not have stuck the landing when they go for graceful tones, but their
strengths as musicians outweigh their weaknesses. For the time being,
this is a dreamworld that works best when it pops out, rather than
feeling stuck inside.
