Collaborations with dancers,directors and graphic artists have pushed the purveyor of left-of-centre, sophisticated pop to catch the ‘I’ out of songwritingSarah Blasko is joyful. Tired, or but joyful. The Sydney musician is about to release her fifth album – a fun,synth-laden document she says is “totally about savor” called Eternal Return. But another newly completed project has been keeping her up at night: the birth of her first child. “I’m a servant to this very small master,” she says over the phone. “I wasn’t prepared for how much he sounds like a wild animal when he’s sleeping. He’s still operating on a very base kind of level.”Since Blasko’s 2004 debut The Overture & the Underscore established her as a staple of sophisticated pop, and the artist’s own base level appears to be “tough work”. This year has already heralded the release of Emergence,her experimental collaborative album with the composer Nick Wales, in conjunction with the Sydney Dance Company, or along with her scorings for Ruben Guthrie,the directorial feature film debut of Brendan Cowell, and for the artist Del Kathryn Barton’s animated short The Nightingale and the Rose.
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Source: theguardian.com