Elana Stone has been a professional musician for over 20 years, with the multi-instrumentalist and singer-songwriter’s résumé suggesting she’s vying for the top spot as Australia’s busiest musician. When she isn’t winning ARIA Awards with All Our Exes Live in Texas, lending her talent to Missy Higgins’ touring band, producing, podcasting, writing a musical, or looking after her kids, she somehow finds time to release a solo album—her fourth, to be exact.
Married to The Sound, out today, is a testament to Stone’s eclectic approach. It’s an album that merges a clear collection of references and inspiration but transforms them into a unique indie-pop styling that feels both new and familiar simultaneously. There’s a central throwback sound that mixes a sort of 70’s yacht rock, 80s Kraut-rock synths with a dash of Kate Bush and a few Australian-isms wedged in for good measure. Again, it’s all new but feels familiar in the right places.
Track by Track: Married to The Sound
“People Come and Go”
Opening the album, this upbeat track feels like it plucks “Walking on Sunshine” by Katrina and the Waves and “It’s Getting Better” by The Beatles off the musical tree and takes a big bite out of them. It’s not as wildly bombastic as those two tracks but equally infectious. The staccato guitar sits underneath with a cheerful buzz, while the lyrics and melody on lines like “People come and people go, I’ve got no control” loop in your mind. The minimalist but tight production creates a feel-good earworm that’s a solid opener, setting the tone with poppy, buoyant energy.
“Oregon”
With vintage yacht-rock vibes, “Oregon” offers a shimmering mix of sparkly keyboards and grooving basslines that Hall and Oates would kill for. There’s a smooth, retro sound that feels both nostalgic and fresh. This one feels a bit like shag carpets and ashtrays on a coffee table. However, the chorus is a wonderful synthy-pop section that’s catchy and deserving of another spin.
“Loose Lips”
Opening with a mellotron warble and jangly, chorus-heavy guitar, “Loose Lips” blends indie sensibilities with a perfect example of non-plussed but colourfully textured instrumentation. Stone’s understated vocal delivery pairs well with the non-plussed production, which plays a crucial role in creating a bright, understated atmosphere. While the track is about the struggle of keeping secrets, it’s a sneakily infectious tune thanks to the wonderful combination of drums, bass, and warbling guitars.
“Bulletproof”
Stripped back but emotionally loaded, “Bulletproof” touches on Stone’s personal experience with her father’s stroke. The piano-led ballad’s verses aren’t particularly subtle, but it is biographical after all. The chorus, however, is an undeniably universal heavy hitter for anyone with a strong and stubborn loved one who’s experienced something similar. It’s also melodically sound and seriously catchy for such an otherwise somber song, wringing out feelings of hope and positivity in its chorus.
“Not Tired at All”
“Not Tired at All” kicks in next, and around here, I began to wonder if I could shake the repetition in the production. But just as that thought creeps in, Stone drops a well-timed banger chorus to wake me up. The smooth change and delivery of lines like “I’ve got a chink in my armor, I’ve got a chip on my shoulder, never there before” really showcase the singer’s ear for melody.
This section almost feels like an outtake from an Olivia Newton-John lead in Grease. The feeling that you’re on a well-produced tour of the Nord keyboard settings does make me wish the canvas for Stone’s wonderful writing expanded just a little further, or that the current run of radio-ready 3:30 tunes went a bit bigger instead of settling into its groove, but it is quite the comfy groove.
“Big Dipper”
Ask and ye shall receive. As my investment in the album waned momentarily, the album’s tonal shift arrives in the form of “Big Dipper” to deliver returns with interest. This one’s a super fun and infectious track buoyed by an Eastern-influenced string section that’s a bit of a salve to my ears.
Normally, songs about writing someone a song are either saccharine sweet, cringey, or both; to Stone’s credit, she makes it work. The opening line, “A little birdy told me that you weren’t feeling good, so I wrote a little song for you on my keyboard,” prefaces Stone’s meta description of the instruments sitting in the mix. The chorus here deserves a ton of praise for how darn catchy it proves to be. The rolling rhymes of “I’m not a quitter, heart’s getting bigger, hands on my trigger” follow each other with a super satisfying punch.
“Shitty Shit”
Next up is one of the more surprising song titles I’ve seen since my Enumclaw review. “Shitty Shit” arguably does more harm to its own message than it does in supporting it. The sort of juvenile defeatism in repeated lines like “I’m so sick of this shit, so sick of the shitty shit, I’m so sick of this shit” intersects with Stone’s perceived ills of the world, which include the rich not paying taxes, climate change deniers, bushfires, and the Murdoch media.
Unfortunately, a fair and interesting avenue ripe for exploration feels lost in the sonic equivalent of a PG-13 fart joke, and I’m just not sure this one struck the chord it was supposed to. The discussion of such themes comes off less like an exhausted, exasperated outpouring of the worlds injustices and more like a watered-down, milquetoast imitation or parody of Rage Against the Machine. Lines like “The fucking bushfires” followed with background vocals repeating “shitty shit” feels a bit too much like a Wiggles brand “Killing in the Name Of” that just simply doesn’t take its subject matter seriously enough. I might be looking a bit too far into this one, but the song doesn’t stray away from placing that target on itself.
“Permanent Limbo”
“Permanent Limbo” is a lovely return to form with chorus-y, shimmering, and infectious production. The prominent bassline is an insistent foot-tapper, and overall, the album’s attention to the bass is really great. It’s given a lot of prominence across the tracks and adds some groove even in the tracks far removed from dance anthem status. Stone explores the emotional limbo of a long-distance relationship, which feels counter to the poppy stylings. The Easter egg of the album’s title popping up is also a nice treat.
“Your Eyes Are Wild”
Opening with spacey strings and synths, “Your Eyes Are Wild” stands out from the album with its more transcendent production. While the lyrical content is sparse, the atmosphere alone makes it an engaging listen. Stone’s ability to create mood through production is on full display, making this track one of the album’s more ethereal moments.
“Cephalopods”
Closing out the album is “Cephalopods,” a soft, reflective track that ties the album’s themes together. Despite its whimsical title, the song is an earnest plea for kindness—to the planet and to each other. Stone’s gentle vocals and understated instrumentation make it a fitting and tender finale.
Final Thoughts
Married to The Sound is a fitting title for Elana Stone’s latest offering. While the album might not always push boundaries or break new ground, its eclectic soundscape reflects a diverse musical identity. Stone’s knack for infectious melodies and playful instrumentation makes this LP an enjoyable listen, even when some tracks don’t land as powerfully as others. There are moments of exceptional production that marry up with a unique songwriting style full of charm. Ultimately, the album serves as a reminder of Stone’s talent as both a musician and storyteller — and one who continues to find new ways to reinvent things even after two decades in the game.
THREE AND A HALF STARS (OUT OF FIVE)
Married to The Sound is out today. Grab it HERE.
Header Image: Aristo Risi
