Five years in the making, ‘Don’t Mind The Punches’ is a vocal tour de force that dazzles and delights.
The sophomore album from All Things Blue (a solo project of India Coombs) was recorded in California with long-time producer Jon Joseph. India writes that ‘Don’t Mind The Punches’ digs into the bruises and bright spots of coming out the other side of chaos.
‘sleep through’ – Drenched in thick distortion, this track is pushed to the ragged edge, and it sounds great. Raw and untamed, it rolls along, perfectly settled in its groove, revealing its gentle vocal melody as it goes. Wonderfully pure falsetto notes pierce the song like an arrow to the heart.
I look through these scars to map a phase
I could fade into the breeze and drift away
‘Irish Candy’ – The Lo-fi electronic beat in the intro and some clean guitars present a completely different texture. Don’t worry, though, the guitars do growl, but not as ferociously as the opening track. It’s a dirty, grungy sound with cavernous guitar sounds and a hint of dissonance. India’s voice is alive with expression, and whether it’s sitting in a lower range or reaching up high, it sounds fantastic (I kept getting hints of classic Alanis Morrisette!).
Fun fact: the voice in the background during ‘Irish Candy’ is India being coached through a 3-minute cold plunge. Perhaps the cold plunge (a deliberate step into discomfort with its subsequent high) is a worthy metaphor here.
And I try sometimes
To get over my head
Digging in deeper instead
I can’t lie I’ve been future tripping
Hoping to find a new start in this end
‘Slavic Drink’ – Crunchier than overcooked autumn leaves, this has a coarse-grained texture. I loved the wide variation in tone and range of the vocal, with a melody that sounds so fresh. I usually try to steer clear of making comparisons to other artists, but with a vocal this versatile and evocotive, it’s virtually impossible – this time I got some serious Kate Bush vibes! Add in some great, distorted drum sounds, and you have another intensely energetic sound.
‘Did You Die?’ – The funk is strong with this one. Tactile textures that are so rich, it feels like they are leaving a residue on your soul. The contrast of edgy rawness and vocal sweetness is fantastic. Another song, another vocal timbre – India is incredibly adaptable, shape-shifting with each new track in a dazzling display of agility.
‘Bad Jawn’ – I liked the workmanlike production and the simple arrangement here. The gritty, unpolished guitar-strumming runs through the track, and the song tells a tale of a relationship that is perhaps not quite as simple as it seems:
If I was someone else
I’d ask you for everything
And if I liked myself
I’d ask you for you anything
‘And So It Goes’ – Delicacy takes its turn on the timbre carousel at first – but never fear – the beat has a subtle distortion that brings the grit. The melody has an innocent quality, and like a lullaby, it cradles you as the song builds. Layers are added, guitars appear, and a great tremolo solo morphs into a totally unforgettable solo as the tone changes, and it fizzes like sparks from a live wire. India says, “This song is about accepting the chaos, the beauty, the earth-shattering losses and the absurdities of life as they unfold, not with defeat but with a forward motion”.
Born to a story call it fate
I am both early and I’m late
Each fleeting friend like our breath
And so it goes
‘Roman Sandals’ – Such an open, atmospheric sound. A phasing organ and a simple groove, it’s another masterclass in melodic invention. Beautifully catchy and constantly surprising – I had no idea where this was going to go. The male backing vocals that appear towards the end are just another example of the sonic diversity and incredible onslaught of ideas that fill each one of these songs. My favourite track so far.
‘San Pedran Crustacean’ – Snapping, textured drums and a chunky bass punch out the groove. The vocals offer a smoother edge, and a guest vocal adds a surprising pop flavour. The various vocal layers overlap and play around in a really clever and interesting way. It all adds up to a sound that’s fresher than a mint in a snowstorm!
‘Red Emma’ – A simple start, let me finally take a breath. There’s lots of space, a pretty melody, and some mellotron-type flutes (reminiscent of Strawberry Fields) that gave this a familiar feel. The fast marching beat – at odds with the slower heart of the song – is just one of the well-crafted juxtapositions spread throughout this album. Lyrically, there is an obvious political theme here, and – going out on a limb – perhaps ‘Red Emma’ is a reference to Emma Goldman (a Russian-born political activist born in the 19th century)?
I want to be free
I want beautiful things
I want to watch it all burn down
and see a better one begin
‘Mean Girl’ – To finish the album, India invokes a fragile, fractured vocal. Yet another new dimension for us to explore. The way the melody develops using a warm analogue synth sound is sweetly unique, and there are clever rhythmic ideas bursting from the seams, too. At times, this took on a distinctly country-tinged vibe, but it stayed unique with electronic sounds, a tempo change, and an evolving, serpentine arrangement. There’s a very intense build to the finish, too.
And there you have it, folks! One of the most varied and electrifying albums I’ve heard in quite a while, ‘Don’t Mind The Punches’ has so many textures and stylistic twists that it will make you dizzy.
India’s chameleon-like vocal prowess is a treat to behold. Her voice is like a prism, refracting and reflecting precisely what is needed to make each song as expressive and vivid as it can be.
A heady hybrid of shoegaze, psyche-pop, dream punk, and so much more, there is a constant stream of surprises. Just when you think you’ve got a song figured out, the rug gets pulled from under you, and ideas burst forth like sparks from a fire. It’s a whirlwind of effervescent energy, and it was well worth the wait.
Written by Grubby
