I’d skimmed a few tracks from this album and marked it as a strong contender for review, but for some reason it lingered in my To-Do pile. I must have missed the opening track, "Standing Ovation" until today. Pressing play was a revelation. Although Stella Donnelly was born and raised in Western Australia, her Welsh heritage shines through, giving her accent a more British than Australian tone, particularly on this track. It opens slowly with keyboards supporting her mesmerising vocals, creating a simple yet captivating atmosphere. Around the halfway mark, the song shifts dramatically, almost splitting into two distinct sections, with the latter embracing a more indie rock infused sound, which ends almost as quickly as it starts.

"Being Nice" leans a little more to the conventional, but don’t let that put you off. It has a classic indie feel, and once again it’s the vocals that stand out. They’re warm, clear, and effortlessly lift the track, even though it runs just a little over a minute and a half. There’s another artist it vaguely recalls for me, though I can’t quite place who, but the familiarity adds a subtle charm.

I love the guitar work on "Feel It Change", which at times recalls Johnny Marr with his jangly, bright tones. It’s a fairly slow paced track, yet it moves along gracefully. I can also catch a subtle Welsh inflection on certain words, which adds even more depth and charm to her voice, and makes me love her voice even more.

Next up is "Baths", a track that initially feels like a classic folk song, opening a cappella with a touch of reverb. Gradually, a subtle keyboard accompaniment enters, enhancing the atmosphere of this beautiful piece. I know I often mention accents, but it’s fascinating to hear hints of an artist’s cultural melting pot in their voice. While we’ve noticed British (or perhaps English) and Welsh influences, there are also glimpses of Australian, especially in words like "Photos". This is by no means a criticism, it’s part of what makes her voice distinctive and compelling and something I would never want for her to change. The only thing wrong with this track is it's far too short, as I couldn't help but feel like I needed more when it finished.

"Year of Trouble" maintains the laid-back vibe, with simple piano that highlights the vocals rather than pushing them forward. It may sound plain at first, but that simplicity is exactly what lets the beauty of her voice shine.

It wasn’t until "Please Everyone" began that I could finally place the artist that Stella reminded me of, which comes through even more clearly on this track. It may be a stretch for some, but she evokes Kate Nash, though in a more rounded, "telephone voice" kind of way, if that makes sense. At least, that’s how it comes across to me. I love the arrangement on this track, especially with the 10cc "I'm Not in Love", new-age style vocal backing, which really lifts the track to another level.

With more Johnny Marr style guitar backing, "W.A.L.K" was probably for me the one track I would skip on the CD player. Where the other tracks had that extra something, this one feels a little plodding. I know many will likely disagree, but for me it felt like an old 80s indie track, which for some reason I just didn't gel with me.

Another one of those blink and you’ll miss it tracks, "Friend" runs just a minute and forty-nine seconds. Yet in that brief time, it delivers a breathless, beautiful vocal performance that lingers long after the song ends, leaving you wishing it could have gone on just a little longer. Its fleeting nature only makes it more memorable and another gem that stands out on the album.

The next track, "Ghosts", is more poignant and heartfelt, yet the vocals are delivered so earnestly and sweetly that the full weight of the sorrow never feels overwhelming. Perhaps that’s the comfort of sharing, of laying your soul open. Either way, it results in a genuinely beautiful and moving track.

"Love and Fortune" for some reason is a track that had me focused on the lyrics, in particular I loved the lines "You trace my body for bites, your fingers go over like search part lights" and "Dad picks me up from the train, travelling back adolescent again", on their own two very disparate lines, but the imagery of both is so sharp.

Closing out the album, "Laying Low" takes a sharp 180-degree turn, leaning into a more pop infused sound that contrasts with the rest of the record. It’s a strong track, but I think the album might have worked better ending on a softer note, perhaps by swapping it with the previous track. A small detail, but one that could make the album’s conclusion feel more gentle and reflective. A minor detail, but one I think more attentive, album-focused listeners would notice and appreciate.

Stella Donnelly’s album is a captivating blend of indie, folk, and subtle pop influences, marked throughout by her mesmerising vocals and great guitar work. From the dramatic shifts in "Standing Ovation" to the heartfelt intimacy of "Ghosts" and the fleeting beauty of "Friend", each track offers its own distinctive charm. Her voice, tinged with Welsh, British, and Australian inflections, adds depth and personality, making even the simpler arrangements feel compelling. While a few tracks might feel slightly out of step with the album’s overall tone, the record as a whole is consistently engaging and thoughtfully arranged. This is a confident and impressive release from a remarkably talented artist.