In the outer suburbs of Naarm/Melbourne, Bec Sykes has been quietly crafting something beautiful.

The last few years have been a rush for Bec. Even before making her artist debut, she was turning heads. In 2019, she won Melbourne label Pieater’s Pie School competition, earning her a mentorship with the label and guidance from one of the country’s most respected artists, Tom Iansek (Big Scary, #1 Dads).

It is rare to make such a mark on the industry before even releasing a single song. Such was the strength of Bec’s raw talent; her textured voice echoes with a soulful wisdom. But in order to be a successful artist, talent must be matched with work ethic, and Bec possesses both in spades.

After she won this accolade, she set to work on her debut single Edithvale. The song is both universal and sparse, weaving between the secret specificities of a love affair and the human experience of loss, which we all hold in common. Bec Sykes may have already won the industry’s respect before Edithvale, but after; she won the fans. The song was soon added to rotation on triple j, and it currently sits at one million streams on Spotify alone. Edithvale opened the doors for Bec Sykes in ways many artists can only dream of.

The same year she released her debut single, Bec won the Josh Pyke Partnership, joining past winners such as Angie McMahon, Alex Lahey, Gordi and more. She even joined Josh Pyke on a national tour. This was yet another well-deserved nod of recognition from the Australian music industry.

A string of singles followed. 2021’s Getaway and 2022’s At Least both demonstrate Bec’s overarching artistic ethos. Every moment, every note and texture has been considered and honed. With her talents not restricted to the recording studio, Bec has supported the likes of Mia Wray, Teenage Dads and Didirri.

In 2023, Bec set her sights on creating her very first album - Pepperpot Magic. Made alongside Robert Muiños in Naarm, the record is effortlessly infused with Australiana. Mostly written in the outer suburbs of Melbourne, where seemingly uninspired suburbia borders inscrutable bush, the record feels both deliberate and powerful. The songs play with everything from the magic to the mundane, often blurring the line between the two.
Upon first listen to these eleven remarkable songs, the listener is overwhelmed by a sense of assurance. “I wrote a lot of the songs as a self-soothing mechanism,” Bec shares, “But I hope they also provide comfort to whoever listens to them.”

For Bec, the album was inspired by a period of intense personal development. She explains two catalysts for many of the songs; leaving an unhealthy relationship, and reflecting on her religious upbringing. Overarching these two major life events, as processed within these eleven songs, is a solid, immovable sense of reclaimed power.

Organic, textured piano stars throughout this album. It features heavily on the single Marlene, and on album standouts Sculpture and I Know What You Like. The latter is sensual, vulnerable; in a world of MIDI instruments, the pure realism and grit of these instrumental arrangements are key.

Bec’s voice is another glowing star on this record. Her vocal range, and the control she has over her tone, is deeply impressive throughout.
In the mix of how beautiful and refined this album sounds, the listener will be further rewarded if they concentrate their attention on Bec’s lyrics. Album tracks Joshua and Caroline demonstrate a pleasantly-surprising sense of play within Bec’s writing. Caroline touches on a feeling so universal almost any woman could relate: the idea that you are not so much jealous of another woman, as you are jealous of the love they are receiving from a man that treated you poorly.

Album closer Paint The House Grey toys with settling down and surrendering to the suburban dream. Deeply honest, the lyrics challenge the writer’s own bitterness, exploring the desire for connection and comfort. The song asks the question: is it possible to balance a creative life with domestic bliss? It’s a question every artist has asked themselves at least once in their lives, and on Paint The House Grey, Bec turns it over again. It’s a beautiful, melancholy yet assured reflection of an intimate inner monologue.

This record is thoughtful, clear; a confident offering from an artist so clearly in control of every aspect of her craft. With this album, Bec Sykes invites the listener into her world. It is warm, inviting, and feels like letting out some deep breath you have held for far, far too long.