Tiny Ruins

While Hollie Fullbrook hasn’t made as much of a dent stateside, at home in New Zealand and neighboring Australia she’s becoming more of a known name, and with good reason. With her third album, she aims to make the same impact worldwide finding homes at Ba Da Bing and Marathon as well as Milk! (Courtney Barnett, Loose Tooth.) Olympic Girls might just do the trick too. Fullbrook has often skirted the boundaries between folk and pop, but here she’s draped in the tresses of deeply wounded and introspective folk – the kind that bore fruit in the ‘70s as lost presses just now getting snatched up for reissue. Echoing the bloodlet beauty of songs by Linda Perhacs, Elyse, Karen Dalton or Judee Sill, Fullbrook has a penchant for finding the saddest corners of the soul and lighting them up in dazzlingly brief beauty that lingers on the mind long after the light has left the room.

The album fills its coffers with more than just strums and swoons, though. With the help of bandmate Tom Healy, Fullbrook’s songs swell the banks of each song with the knotted-smoke embellishments of Laurel Canyon’s heyday and the rain-soaked humanity of Brigitte Fontaine’s Est… Folle. Fullbrook’s voice has a habit of rack-focusing the instruments to the background, something that works well on the cavernous sparseness of “School of Design,” but Healy gives her moments of competition wrapping her voice elsewhere in the bleary gaze of synth, echo and strings that feel torn from the reels of Jean Claude Vannier’s personal stash.

In her short career, Fullbrook has made a point of leaving listeners with pinprick impressions on their soul, but Olympic Girls digs the scars deeper. The record breathes only in vapors becoming an organism of anguish and memory. It’s a testament to loneliness and living in that loneliness like a comfortable skin. With this, Tiny Ruins enter into the greater vernacular, and hopefully, into a greater number of speakers as well.




Support the artist. Buy it HERE.

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