E^ST – The Alley E.P.

It is far too easy to view E^ST (pronounced “East”, the moniker for Melisa Bester) by facts and figures before anything else. All the standard comments like “can you believe that she’s still only a teenager!” and “Oh really? She’s from Australia?” sadly do sometimes have the power to push creative expression into the background. However, this is far from the case with E^ST’s The Alley E.P, which stands as overwhelming proof of her artistry, as well as a forceful mission statement.

As was made clear on her debut E.P., last year’s Old Age E.P., Bester wishes to wade through the tragic areas of the human psyche. Not in the “woe is me, there is no hope” way and definitely not in the “eveRythiNg is so Rong! OMG Wurst Dae Evaah!” sort of way, but in a more bittersweet fashion where resignation into the mundane and the inevitability of accepting something you don’t want, is the saddest thing of all.

In comparison to the Old Age E.P., which featured for the most part, relatively standard indie and acoustic instrumentation (save for the blistering synth riff of Old Age), The Alley E.P, is musically far more glitzy and lush, and works as a perfect foil for Bester’s mature pop songwriting. Take the standout track Disappear for instance, which delights with positively swooning 1982-revamped-for 2015 synth washes, Bester’s sensual vocals, and an absolutely perfect chorus, incrementally ascending before releasing on dizzying high. Even as Bester sadly questions “can true love really disappear?”, she shows off a snarky side with the revelation that “I won’t pretend to know the answers/but you know that I’m right”.

Lead single The Alley is a decidedly modern track that races along with subterranean soul and hauntingly tribal-sounding backing vocals and percussive claps. Painting an image of urban alienation and confusion, Bester’s breathy and subtly menacing sigh strikes wonderful contrast when placed alongside the warm piano block chords and earworm melody. Monster, while still very likable as a competent pastiche of FKA Twigs with its ethereal sensuality and shimmering soundscapes, however tries to jam a little too much in, yet without a consistently engaging structure. The final track Somebody Else however, is a near-perfect ballad of sorrowful realisation and and conviction, wrapped in a comforting chord progression, and a melancholy vocal line.

“I know I’m alive, but how is this living?/If I could change myself, I’d be willing” Bester sings. While it is admirable to realise that change is necessary in life, in regards to her music, it would be pretty fair to state that at this stage, Bester should be more than pleased with her sound and she has created. E^ST is an artist knocking at the doors to stardom; it’s about time those doors were opened.