Jenny on Holiday—Quicksand Heart

I initially thought Jenny on Holiday was an unusual name for an artist, and as the opening track, "Good Intentions", began, I found myself wondering if this might be a late Christmas album. The keyboard tones, at least to my ears, carried a distinctly festive feel. However, as soon as the vocals entered, it became clear that this was pure pop, and very good pop at that.

The title track, "Quicksand Heart", continues the pop sensibility. The same keyboards return, though they are largely confined to the chorus and feel more subdued this time, with the electric guitar taking more of a centre stage.

"Every Ounce of Me" opens by taking the album in a slightly different musical direction. The song builds gradually, and when it reaches the chorus, it carries a distinctly 80s feel, reminiscent of the soundtracks from many John Hughes films.

The next track, "These Streets I Know", also leans into that 80s aesthetic, but this time with a much slower, more reflective pace rather than upbeat pop. It feels perfectly suited to a pivotal moment in an 80s teen film, the kind of scene built around hesitation, hard choices, and quiet resolve. All of that conveyed in just over four minutes of excellent music.

"Pacemaker" also sits on the slower side, though it stops short of being a full ballad. At this point, Jane Wiedlin, formerly of the all girl group the Go Go’s, came to mind. It is not an exact facsimile, but there are clear similarities in both the vocal delivery and the song structure.

Once again, with "Dolphins", the tempo slows, this time taking on a distinctly droning quality. I do not mean that as a criticism; rather, it has a cyclical feel, a kind of hypnotic repetition that does not really go anywhere, yet does not need to.

The album opened strongly, but with "Groundskeeping" we remain in the slower tempo, and it is beginning to feel a little one dimensional. There is nothing inherently wrong with the song itself; rather, it is the continued lack of contrast between tracks that starts to stand out.

The same initially seemed true with "Push" but once the drumbeat kicks in, it begins to lift the mood. It never fully breaks free, yet there is a sense of gradual momentum, and to a degree, it delivers on that slow building promise.

"Do You Still Believe in Me" finally begins to answer that desire for greater momentum, moving the album in a more energised direction. It may not be a defining statement piece, but it injects a welcome lift and suggests a shift in pace that feels overdue. Placed earlier in the running order, it might have helped break up the slower stretch and added a little more balance to the album’s flow.

The album closes with "Appetite", and fittingly, it carries the feel of a closing scene in a teen 80s movie. With a livelier pace and renewed energy, it brings the album to a satisfying conclusion, leaving a sense of momentum and optimism.

There's a lot to like about this album. It opens strongly, but seemed to sag a little, which it had a hard time battling against, with redemption coming a little late in the album. For me this would have been much stronger, if it had more thought placed on the ebb and flow of the album as a whole. For those who consume their favourite tracks, a lot of what I've said will be of no concern, but for those who prefer to experience an album as a journey, the uneven pacing may require a bit more patience to fully enjoy.