It sets the scene by tempting you with all the drama and intrigue that the full story will bring, and then snatches it away before your coat is even checked. Perhaps, that's why Sarah Blasko has chosen “The Overture & the Underscore” as the title of her very first album: an encapsulation of the many intertwining narratives and textures her musical life promises, and a defining moment in its progression so far.

Sarah started singing in the pews of a church, flanked on one side by her tone-deaf mother, and on the other by an eighty-year-old soprano unafraid to flaunt her vocal chops:

“Be the umption in my gumption keep me burning,

be the umption in my gumption I pray.

Be the umption in my gumption,

help me function, function, function,

help me function to the break of day!”

Perhaps it was amongst these congregations that the influence of music seeped into her subconscious. For Sarah Blasko was conceived, the youngest missionary in the French speaking paradise of Reunion Island, before her Father, who courageously led the crusade, brought her home to greener pastors.

Blasko developed a musical interest without really thinking about it too much. Like a lot of kids growing up in the 80’s, she would spend hours in front of the T.V. watching the music videos of artists like Prince, David Bowie & Eurythmics. Her mum’s Olivia Newtown-John cassette was also a prized a possession, a taste reflected now only in her choice of karaoke numbers.

In contrast, her father, an English/History Master, introduced her to the likes of Rachmaninov, Schubert, Bach and some of the less acclaimed works of Paul McCartney.

In her High School years, Blasko hid a love for music as one who leads a double life, carrying with her the impression that to make music one had to know a set of rules no more alluring than those that govern geometry - which she also failed.

In Year Eight, she was singled out for misbehaviour and forced to conduct her class through a piece of music. Blasko - with no after-school violin lessons to fall back on - had no idea what she was doing, and in a moment that could have sealed fate, the following words were uttered to her by her music teacher:

“Young lady, you do not have a musical bone in your body”

Perhaps it was then that Blasko, unwittingly, set out to prove her wrong.

Intervention

At 16, she started a band with her sister, and, as other girls were sneaking out at night to indulge in the sins of drinking and the company of boys, they began sneaking out to revel in the devilish sounds of live jazz and blues. One sacrilegious intervention, perhaps, in the eyes of her former fellow parishioners, and Sarah’s songbook no longer bore just hymns.

And yet, it would not be the only intervention Blasko would know. Once, members of a band she fronted decided that they should all thrash out their gladiatorial disagreements in the coliseum of group therapy. Not only did it drain the entire band bank account, it also informed Sarah of what so many submit to therapy only to learn - that it is indeed time to go solo. So she took her guitar and headed home.

Home was exactly where she set to work on her first EP “Prelusive”. A six track treasure of beats, guitars and vocals all homespun on a yarn that overlooked a suburban primary school. It was enough to get her signed to fresh-faced record label Dew Process, who envisaged big things for Sarah.

But Sarah was miles ahead. She'd already left behind the quaint charm of the bedside sampler and was busy working on a whole new sound. Departing more than anything from familiarity itself, Sarah decided that the ends of the earth would be among the best places to start. So Hollywood it was.

Arrival

Arriving in town with her arms full, having spent the previous six months writing and recording at home, Sarah brought with her a strong sense of purpose and a barrage of demo material. From 4-track tapes of endless tipsy acoustic sessions to painstakingly elaborate arrangements for mammoth synthesised orchestras. Even a sample or two straight out of the circa-1980s Casio keyboard.

The challenge would be for Sarah to knit these different fabrics into a whole of their own, without it resulting in patchwork. This was perhaps one reason she found an ally in Wally Gagel whose work with The Eels & The Folk Implosion had already shown a flair for melding the organic with the electronic. She also avoided the input of too many outsiders, with her and bandmate Robert F Cranny arranging and playing almost all of the instruments on the album, and drumming superhero Joey Waronker - originally called in for a handful of tracks - playing all the drums and percussion.

In all this, Sarah Blasko feels she has succeeded. Tunes originally hatched on lone guitars or pianos have grown into sweeping symphonies. Tracks laid down in the town-house closets of her suburban demo sessions mingle happily in the company of those born under the spotlights of Hollywood nights. Even some of the Casio keyboard lines survived.

Sarah Blasko's debut album, “The Overture & The Underscore” speaks largely for itself: eleven new compositions including the already namedropped “All Coming Back”, “Don't U Eva” and “Always Worth It”; the engineering & production skills of Wally Gagel; The amazing drumming of Joey Waronker, whose tub-thumping has been heard in the music of Beck & REM; the studious studio arrangements of Sydney indie-rock mainstay Robert F Cranny; and the sublime songwriting, inimitable intuitions and unique voice of Sarah Blasko. All delicately and painstakingly crafted in one ridiculous mad rush, somewhere beneath the world's most famous real estate sign.

Debut

Although she wasn’t a complete stranger to presenting her work to the public ear, the surrender of her first full-length album felt very much like a debut to Blasko. Her first EP was more like a collection of demos. When major label discernment seemed unwilling to support Sarah’s early solo recordings, she simply took on their role for herself. Producing, releasing and touring the EP independently, Sarah was content to leave the music world to get their foot in her door - which is precisely what they did when tracks from the EP began appearing on national radio.

This time, however, it would be different. There was now at least a modicum of expectation, if only from herself. This was indeed the first release that would bravely feature her face as the sole cover image.

Similarly, the months that followed - forming, rehearsing and reforming a live band - felt like the preparation for a debut of sorts, despite Blasko’s many years of performing both solo and with other musicians. Previous to the recording of the album, Blasko had handpicked a group from the talent pool of Sydney’s abundant indie scene, but upon returning found each member in a tour bus or recording booth of their own. It would be just like starting over.

Robert F was still on board, who called upon sister Gillian and old bandmate David Keys. Sarah brought in her best friend, actor and musician Jessica Chapnik, and Jeff De Arujo was welcomed back into the fold - not seen since the “Prelusive” days - to take his place behind the kit. David would play the bass, Jessica the keyboards and the Crannys would fill in all of the other gaps.

The beginning of 2005 saw the band in this form take to the stage for the very first time on their own national headlining tour, and following that, a whirlwind international tour to many of the places Sarah hopes her music will find a permanent home.

Residence

The remainder of 2005 has seen “The Overture & the Underscore” gradually take root in Australia, whilst Sarah herself has been sending out tendrils in lands far afield.

With minimal commercial radio play, Blasko's debut album has been steadily building an attentive audience as much through her striking video clips and dynamic festival performances as from simple word of mouth.

On the touring front, Sarah has travelled her acclaimed live show across the lengths of her homeland, from Darwin to Hobart; from Busselton to Byron Bay. In two comprehensive national tours, Blasko and her five-piece band have taken her music from candlelit mountain guesthouses to overflowing festival bigtops.

Meanwhile, her overseas travel has wound its way through New York, LA, London, Manchester, Dublin & Toronto. With more travel on the horizon, it would be apt to say that although her music has discovered a comfortable home in Australia, Sarah has taken residence in the planes, trains and buses of the wider world.

“The Overture & the Underscore” is out now in Australia, the US, Canada and, most recently, the UK & Ireland. Perhaps it’s time to take our seats.