Mere Child breaks the ice with a roar of fuzzed guitars before moving into slick electronic-pop and employing her affecting, dusky vocal in second single “Jot Of Joy”. A steady drum beat helps us keep rhythm throughout the track, possibly inducing a classic ‘80s side-step suitable for the nostalgic tones. Additionally, the rolling wah-wah synths flow through Mere Child’s oceanic tune, the alluring Sirens calling “woah” and Aimee Herbert-Smith’s smoke-infused voice entices, “Take me to the sea, let it carry me from here. And let me disappear.”
“Jot Of Joy” is the kind of melancholic disco we’ve heard from the likes of Austra and Skott with further comparisons to Robyn and Robyn Sherwell. It’s an emerging genre that addresses an audience’s need for genuine emotion, which Mere Child draws from a three year reprieve from music to focus on a life of marriage, birth and tragic loss. Speaking on what it means to impart these personal experiences, Herbert-Smith says:
“I felt the need to start writing and recording in a different way to how I had done before. Somehow, going solo at this point seemed fitting with the content of the songs – more vulnerable and anxiety driven.”
Mere Child’s first release “Not Good Enough” has been praised by reputable music blogs Gigslutz, I Heart Moosiq and Bitter Sweet Symphonies, as well as being listed in Spotify Australia’s ‘This Week Sounds Like…’ playlist. With aural nods to Cocteau Twins, Mirage era Fleetwood Mac, Vaults and ‘90s dance collective Olive; this initial release introduced us to an artist whose music is dark and fragile, soaring and cinematic.
In the live music realm, Mere Child joins up with illustrious pop singer Byrde. With more gig dates to be announced in the near future, it’s worth noting that Herbert-Smith’s live performances offer a chance to hear these tracks laid bare – simply unaffected vocals and an acoustic guitar, proving the purity of this genuine songwriter.