It sounds like something out of a romantic novel. Ray Sonder and Saxon Gable were brought up in sleepy Australian beach towns to parents who were hippies and rockers. Spoon fed Nirvana and The Beatles on the car stereo, they both became self-taught musicians. They moved separately to Berlin within two weeks of each other, met and soon married. Now comes their debut album. So far, so Mills and Boon. However, the fact that the album is called ‘Lately, Love is Dead’ suggests that their world is not one of happy ever after fantasies. While their music has a sun-drenched, blissed out quality that takes from the melodic tendencies of psychedelic Beatles and shows little sign of grunge influences, the lyrics reflect a nuanced exploration of the human condition. Love, loss, fractured relationships, substance abuse and discontent with modern, digital life all appear.
These themes become apparent on opening track, ‘Adored’. Beginning with the synthesised harmonised words, “Baby Smith are here for you”, it quickly becomes accusatory, its next line being “you only call me when you want to be adored” and goes on to advise “the drugs won’t take away the pain.” However, it becomes a statement of self-worth, “you don’t deserve me / I’m worth it.” The tune itself has a breezy feel that defines the album with synth washes, a danceable guitar and bass groove and drifting harmonic vocals, an overall effect not dissimilar to modern day Tame Impala.
‘Limoncello River’ extends its psychedelic mood to lyrics with nonsensical but evocative phrases such as “pleasure-berry shivers” and “cemetery winters / doctors singing seaside blues.” Even though the song is inspired by a friend dealing with serious health issues while becoming a father, that would not be apparent from the words or music. The vocals sound happily drowsy while their use of flutes, tuba and strings recalls the delightful way ‘Boces’ era Mercury Rev incorporated them. Their embrace of contradiction is exemplified on ‘Walkie Talkie’, Condor’s voice sounding dreamy as she sings, “I’ve been getting too emotional / you’re standing on my ribcage.” The tune is laidback and embellished with synth squiggles and a few seconds of discord that hints at the manic upheaval section of The Beatles’s ‘A Day in the Life’.
While the mood at the start of ‘Golden’ is supreme contentment (“I’m in heaven / God forbid the sky should fall”), the following line suggests the inevitably of events deteriorating. However, one of the record’s curiosities is that whatever the emotion being expressed, the relaxed vocal style hardly changes. The flute flutters are an additional charm to this song. ‘All I do’ exudes post-coital languor and post-relationship despair while also displaying a formidable array of hooks and some subtle tempo changes. Bubbling synths are to the fore on ‘Take It Or Leave It’ before guitars are added and create a thrilling ascending melody.
The title track is a gently devastating critique of beauty standards and the capitalist imperative to never be satisfied and constantly want more. The song is at its most impactful when the synths and beats drop out, leaving only cello and Condor singing, “I wanna be pretty / I wanna be sought after / I wanna be someone else” before going on to document “ketamine, crushed pills and docile smiles.” There is a bossa nova vibe to ‘Don’t Look Down’ combined with almost comatose soft-rock harmonies.
Baby Smith display a welcome willingness to laugh at themselves, as illustrated by the title of penultimate track, ‘Have I Lost Myself Or Sense Of Melody’ as a lack of melody is not an accusation that could ever be levelled at the album. The song’s opening sentiment, “life’s complicated / life’s overrated” suggest being on the verge of giving up and there is a temporary breakdown as the words “lashin’ out” are repeated. Almost a brief coda, ‘Goodnight Baby’ ties up proceedings with a lightly decorative bow. Even more laidback than previous tunes, it hints at growing discontent and a desire to return to fresh beginnings in the line, “I wanna wake up in love again” and, in the fade, strings add a frisson.
‘Lately, Love Is Dead’ is a highly impressive debut. Baby Smith emerge with a fully formed, clearly defined sound, like a breeze lightening a heat haze. The ten songs are concise gems, all sticking close to the three-minute mark, with memorable melodies and enough variation within a theme to maintain interest. It is going to be fascinating to see how they develop that sound in future.
Baby Smith: Lately, Love is Dead – Out 10 July 2026
Smith – Limoncello River (Official Music Video)
I was editor of the long-running fanzine, Plane Truth, and have subsequently written for a number of publications. While the zine was known for championing the most angular independent sounds, performing in recent years with a community samba percussion band helped to broaden my tastes so that in 2021 I am far more likely to be celebrating an eclectic mix of sounds and enthusing about Made Kuti, Anthony Joseph, Little Simz and the Soul Jazz Cuban compilations as well as Pom Poko and Richard Dawson.
