While not Marika’s strongest body of work, Big Sigh is a feat of a project and encompasses the build-up and release of a creative labour of love.

After a succession of album releases, Marika Hackman thought her songwriting days were behind her as she struggled to get the creative juices flowing and pen new music. With resolve and determination, Marika pushed through an artistic dry spell to bring us the aptly titled Big Sigh - stick the record on and let the relief wash over you.

We’re introduced to the world of Big Sigh with ‘The Ground’, a sweeping instrumental track defined by piano and strings, and obscured layered vocals. Its haunting melody primes us for what is arguably Marika’s most introspective project yet. Yet, ‘No Caffeine’ (the album’s lead single) teases of the more upbeat soundscapes to come and draws influence from Marika’s earlier work, particularly I’m Not Your Man. This track is a how-to guide for anxiety and its cyclical nature, described by Marika as “a list of what to do to avoid having a panic attack”. Likewise, the sad, sultry soft rock ballad ‘Big Sigh’ looks inward with lyrics like “I’ve been good, I’ve been bad, I’ve been better” reflecting on Marika’s mental state.

No stranger to the macabre, ‘Blood’ calls back to Marika’s folk roots and reminds us that she is a master of blending dark gothic imagery with themes of love and lust. Sonically, this track is relatively stripped back with laidback instrumentation that leaves room for Marika’s ethereal vocals to shine through. The melancholia continues on ‘Hanging’, ​​a solemn and heart-rending exploration of a toxic relationship that stifles growth and freedom. Most of the track is gentle and unassuming, until the soaring climax which symbolises Marika breaking free from the clutches of her lover.

‘The Lonely House’ piano interlude offers a gentle reprieve on the comedown of the crescendo of ‘Hanging’, then onto ‘Vitamins’ we hear Marika enter uncharted sonic territory. Angsty verses sandwich a wordless electronic chorus, experimented with further in the undulating, synth-driven outro. The track is definitely a stand-out, mostly for its sheer divergence from what we’re used to hearing from Marika.

Anyone who has listened to Marika’s repertoire will be familiar with the unabashed horniness that some of her tracks ooze. ‘Slime’ is no different; it’s visceral, vulgar, and oh so sexy. Lewd metaphors, images of the corporeal, and an earworm of a melody combine to make this addictive song. But, of course, there’s always room for a bit more sadness. ‘Please Don’t Be So Kind’ does a great job in showing off Marika’s vocal prowess, and closing track ‘The Yellow Mile’ calls back to previous motifs in ‘The Ground’ over a finger-plucked guitar melody.

While not Marika’s strongest body of work, Big Sigh is a feat of a project and encompasses the build-up and release of a creative labour of love.