Aussie singer-songwriter Julia Jacklin’s fourth studio album, her first for the iconic 4AD label, is a perfect autumnal album. It has that sense of darkening early nights, crunchy fallen leaves and a chill in the air. There’s more than a pinch of Wiccan magick, too. It’s perhaps no coincidence that it takes its title from a favourite haunt of Jacklin’s – a Melbourne pub – as there’s a real candour to the songs, almost like shared secrets after a few too many jars.

Even the opening track, ‘Brand New’, has a volte face, when it goes from a nice country stroll to a halfway point where she seems to open a window and let in noise, pollution and danger. But for the most part, it’s a low-key album which covers life’s little detours and problems, both personal and global. There’s lust, anxiety and guilt in every line, sigh and crackle here. Wonderfully, there’s also a Wurlitzer piano, played by Olaf Scott, on the beguiling ‘Real Life’.

Even the quietest songs, like the twisted lullaby ‘Angel Vision’ , have an unsettling ,witchy energy. It’s the live sounding instrumentation that pulls at your heart, and the versatility of Jacklin’s beautiful voice; sometimes she’s breathy and sweet like her labelmate Lisa Germano. This is evident on the devastating ballad ‘You Turned On the Tap’ which, with its spare piano lines and hushed vocals, is like ASMR for the soul. At other times, as with the masochistic-sounding ‘Walk On Me’, she lets rip, vacillating between autonomy and shame. There’s a real depth and richness to it all.

Nothing here is as poppy and immediate as previous hit singles like ‘I Was Neon’ and ‘Pressure To Party’, but ‘Get Away From Me (I Think I’ll Love You Soon)’ cranks up the gears a little, coming over like Blondie or The Go-Go’s doing country.

Such a pivot suggests another brilliant female songwriter who’s railing against the mediocrity of stadium fillers. We’re truly blessed to have Julia Jacklin and her bittersweet, worldly ruminations. Taylor who?