With her voice, both intriguing and seductive, Merryn Jeann guides us into a transcendental odyssey. Nun at the Airport is an intriguing preview of her forthcoming album, Dog Beach, set to be unleashed on February next year, promising an era of sonic exploration that echoes the nostalgic tones of the ‘90s and early 2000s. This storytelling voyage, which previously captivated audiences on her latest LP, Shade under your hands, now unfolds with the delicate touch of the prestigious producer Rob Ellis.
Imagine being quarantined in a hotel inside Frankfurt airport, gazing out at a vast, empty foyer. In this eerie silence, you witness a group of nuns gliding up an escalator, their suitcases trailing behind. It’s a surreal scene that sparks the creation of this song. In the artist’s own words, it’s a song that embarks on a whimsical journey, wherein “a nun is feeling disconnected and far from God/the spirits, so she decides the only way to understand what’s happening is to talk to God, so she hops in a plane to physically get closer to them/her/him/it.”
Jeann’s musical identity, born from her time in Paris and now rooted in Australia, defies categorisation. Her sound is a mesmerising blend of influences, reminiscent of Caroline Polachek’s dreaminess, Cat Power’s raw emotion, and Feist’s poetic depth. Her return to music after a dalliance with fine arts adds an intriguing layer to her artistry, evident in the self-directed music video that accompanies this release.
Jeann’s musical identity, born from her time in Paris and now rooted in Australia, defies categorisation. Her sound is a mesmerising blend of influences, reminiscent of Caroline Polachek’s dreaminess, Cat Power’s raw emotion, and Feist’s poetic depth. Her return to music after a dalliance with fine arts adds an intriguing layer to her artistry, evident in the self-directed music video that accompanies this release.
