In popular music, whistling is often employed as a quirky ornament or brief interlude, rarely given as much real estate as the voice. It's an innate instrument most of us can wield to some degree, though few devote themselves very deeply to its craft. Not so with
Molly Lewis, an Australian-American artist whose lips provide the primary focus of her music. A virtuosic whistler and composer of lush jazzy songs that revisit the tropical kitsch of mid-century exotica,
Lewis makes music that is both soft and lightly psychedelic. Prior to signing with Midwestern indie
Jagjaguwar, she whistled competitively, worked as a session whistler, and hosted her own Los Angeles residency show, Café Molly, which drew an odd cadre of celebrities from
John C. Reilly to
Yeah Yeah Yeahs'
Karen O. The uniqueness of her instrument and a fascination with old Hollywood glamour has attracted interesting clients, many of them in the fashion world;
Lewis has made international appearances whistling for Chanel and Gucci, and can be heard during a key scene in the 2023 Barbie movie.
On the Lips is her full-length debut and expands on the humid retro-lounge style of her two previous EPs. Eerie analog synths mingle with chirping organs, flute, percussion, and
Lewis' own quietly plucked guitar parts. The set consists of eight originals along with her interpretations of the '60s standard "The Crying Game" and the '70s Spanish pop cut "Porque Te Vas."
On the Lips is neither entirely instrumental nor entirely wordless; On the title cut,
Lewis demurely offers a spoken preamble, introducing herself and her intention to whistle. A smattering of tasteful vocal lines pepper some of the arrangements, which feature guest spots from San Diego's
Thee Sacred Souls and the Brooklyn funk outfit
Menahan Street Band, among others. Breezy, elegant, a little campy, and at times noirish,
On the Lips sounds like a lost island on the archipelago of
Yma Sumac,
the Moog Cookbook, and
Angelo Badalamenti. ~ Timothy Monger
