Jonnine Standish (HTRK) listens to her inner guides on a captivating solo debut for burgeoning label Good Morning Tapes, leading on from their terrific XVARR EP and wayward shots by Tapes, Mahbunzi Nahgo Pihndi and Innsyter issued over the past year. Resoundingly adored for her ice cool poise and penetrative lyrics in noirish dub-pop duo HTRK, Jonnine Standish’s music has long provided a timeless, classic antithesis to modernity. She is a rare, anachronistic spirit within contemporary music and brings a signature sense of restraint and class to ’Super Natural’; her debut suite of solo recordings channelling the sass of Twin Peaks’ Audrey Horne as much as Leslie Winer’s elegant, druggy proto trip pop. Recorded between Peru, Hawaii, and Jonnine’s native Australia, ‘Super Natural’ unfolds a succinct grimoir or spellbook where she acts as liminal interpreter for immanent devotions that divine a poetic and romantic sense of mystery from the everyday. With thanks to Jonnine’s therapist, who encouraged her to explore a solo identity for years, she was able to tap into this insight and overcome a creative block, finally giving a confessional voice to ambiguous inner guides that have helped to prompt some of her best songwriting, as found here and on HTRK’s recent ‘Venus In Leo’ album. In the deliciously woozy low pressure system of her opener ‘You’re Wanting It To Go This Way’, those spirits instinctively lead her down a path of self-reflective nihilism accentuated with curdled guitar and a thumping 808 heartbeat, before her husband and collaborator Conrad Standish (CS + Kreme) supplies backing vocals that tenderly accentuate the knackered tristesse of ‘I Don’t Seem Myself Tonight’, which is also buoyed by Mona Ruijs’ subtly plangent gong tones But it’s HTRK’s groove engine Nigel Yang that distinctively underlines Jonnine’s mantric lyrics about the push/push of love best in ‘You Can Leave The Vampires’ with patented, pensile sensuality, before the EP shores up with ‘Scorpio Rises Again’, an instant classic framing Jonnine as the inner voice of Audrey Horne against stalking, plucked bass, finger-clicks and whistle by Conrad Standish, a denouement surely worthy of a closing scene in the next Lynch.