What does Melissa Weikart sound like?

Avant-Garde piano-based singer-songwriter bridging the gap between experimental and chamber pop.

The review ‘Easy’ by Melissa Weikart

Following on from 2022’s fantastic ‘Here, There‘, Melissa Weikart expands her sound palette with her new EP ‘Easy’. It is an EP dedicated to Melissa’s late uncle Scott who she calls “a super sweet and lowkey genius old school hippie”. The piano is still front and centre. The melodies still have an experimental jazzy blues wild streak. This is definitely the most streamlined and approachable release from Melissa to date and thus a great place to start for a newcomer.

The EP opens with the sumptuous blues of the title track. ‘Easy’ is just that – casual, open for breath, space and thought. It oscillates between two chords backed up by electric bass, and the layers of vocals and echoing pianos get bolder and more blanketed as the track progresses. It’s the perfect introduction to Melissa Weikart as on the surface, it is quite a traditional track. Yet the way the chords, melodies and instruments hang off of each other feels unusual and a bit off-kilter. This is the Weikart way and ‘Running in the rain’ turns cascading piano notes into rainfall over waltzing pianos and frequency-dialled synths. ‘Better when you wait’ has a cabaret chanteuse quality to it. Bubbling, psychedelic pitch drifting synths drone into church organs and cinematic piano as the song teases the listener. A drum machine sounds like it is trying to start the guts of the song into a frenzy but as the track reaches its climax, we transition into a cleansing church organ and vocal finale.

You’ll find by now that predicting Melissa Weikart’s next move is futile, and that’s part of the fun of a first listen. We completely switch gears for ‘Wasting time’, a bass-forward French indie pop track that Camile would be proud of. The chorus has a hook of operatic layered vocal notes swelling in number and breadth as they go up the scales. I wasn’t expecting something so early 90’s 4AD on this EP but it works well. ‘Lullaby’ reminds me vocally and sonically of Olga Bell. The pianos and vocals are digitally filtered and underscored with swampy water sound effects and recordings of playing children. The piece is a refracted dream that sounds a half note away from turning sinister but instead stays warmly spooky. The closing track ‘One day’ has Carmen Quill featured on double bass for a quaint, slice-of-life toned homey blues track. The musing lyrics stand out as Melissa contemplates how a perfect moment often has a blemish and that leaves your thoughts tarnished the next day. Coupling the jazz bar vibe with some of the more directly whimsical lyrics is a nice touch.

‘Easy’ is in and out in just under 20 minutes but stays with you long after. With some more restraint on the experimental jazzy elements and a focus on blues, this is also the easiest listen in Melissa Weikart’s discography to date. That doesn’t mean it’s boring, safe, or lacking passion or pizzazz. Instead, it is thematic, focused and more direct. Chamber pop fans and alt-pop fans will do well to explore this nifty EP as it packs a mighty soft punch.

Recommended track: Running in the rain

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