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Sinking her fingers right into the lifeblood of her craft - even when the experience unearthed some of her most agonising and complex emotions - was central to C Pavey's journey towards her second album as Vera Blue. We spoke to the singer- songwriter about the gleaming, candid and ultimately remarkable Mercurial. Words 2oé Radas hen Celia Pavey describes her upcoming live shows to promote her second album - titled Mercurial, and out this month — she homes in on one word. "Colourful”” she offers, with a sparkling smile It's been five years since Pavey’s debut Perennial, a critically acclaimed collection which explored the cyclical nature of relationships in three discrete sections. In comparison to its predecessor, Mercurial has been crafted with the stage in mind; it's changeable and volatile like its namesake, full of thick bass and synths, and imbued with an urgent spirit. visit stack.com.au “We've got lots of big, ‘80s, i anthemic synth moments that q all happen in the same place,” she says, “land] they were supposed to happen in that place because that's a moment of just pure ‘feel’. Those are moments where it's like a dance. | picture myself feeling that emotion, and dancing, and having that chaotic emotion exploding” Beats were similarly about feel: see Everything Is Wonderful, in which the throbbing bass drum becomes so reverbed, crunched and layered that it actually wobbles a little out of time, and adds to this sensation of marching towards a slow and turbulent inevitablilty. The title is, of course, sarcastic — or rather, self-deluded. “Yeah, 100 percent,” Pavey nods. “The song is about being in a really dark place of depression and anxiety, and not knowing how to cope or how to move forward. So when we were making that song | was like;This doesn’t have to be a single. This can just be whatever we want it to be’ “We had multiple different rhythms. happening at the same time; it makes it sound industrial - quite ugly sounds. It was blending weirdly, but | love that because that was exactly how | was feeling at the time. It was not a nice feeling. | didn’t know where to go or how to cope with it. “There's a moment in that song that | really love, where we set the microphone up and we had a section of the song on loop, and | just sang whatever | was feeling at the moment. And a lot of it was vocal wailing. | had a Janis Joplin kind of moment, which was really fun! We put all the vocal parts together, then turned up certain parts that would give us goosebumps, and turned down other parts. And it just sounded like this colossal group of voices that were all people screaming in pain... So yeah, that song? It hits me.” Another beautiful moment of form matching emotion comes in Heart Still Works, in which Pavey’s melody on the lines "Sensations | don’t recognise/ Explosions of colour and light" leaps up and down in a lilting, unexpected rhythm?"In that moment, in that song, you're experiencing these sensations of falling in love that are brand new," Pavey explains. "So | wanted something that was a bit fluttery and a bit ‘breathless’...” cy) CU OCR Cul og CULE ac eT jbhificom.au J HIFFE
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