Gosia Winter

"without a doubt a band of great interest" - From a shortlist message.

"The tone of the night had been set from the moment punters entered the venue with the albums in a small treasure chest next to an iron teapot, and empty rustic bird cage above the songstress as she worked the door in a yellow dress, corset and small hat. This timelessness mixed with a touch of Alice In Wonderland set the mood off perfectly to the eclectic mix of music that goes in to each Basinska composition. ... The mixture of gypsy style textures, Eastern European influences and no electric instruments all adds to the timelessness of Basinska's music. At times the music leant heavily on Basinska's Polish heritage, at other times the music conjured throughts of the interwar years with a distinct Edith Piaf vibe."
- Jason Kenny, Drum Media, 7th February 2009 album launch. - Drum Media, Perth

On this intriguing and captivating debut, Western Australian singer
songwriter Gosia Basinska (Gosha Ba-shin-ska) kicks things off with a
tightly wound piece of ear-infecting kitsch pop; the sort of thing you're not sure if you understand, but find yourself humming for hours afterward anyway. But where your typical kitsch-poppers seem content to deliver a bunch of thinly veiled variations on a theme, Basinska takes the listener through a fascinating range of avant genre bending that frequently surprises with its malevolent undertones.
There's an almost childlike quality to Basinska's vocal delivery that gives tracks like the confounding opener What Can Do a playful and light-hearted energy. Several songs on the first half of the album find themselves travelling in this territory, and the album's second and most recent single Thirst is by far the best. With its smouldering and provocative lyrics married to a down and dirty guitar, a cheeky little turnaround riff and what sounds like the squawking hinge of a rusty gate, it implies that perhaps this provocateur is not so innocent. It also signals the end of the kitschier part of the album.
It doesn't, however, signal the end of the bold experimentation. While later tracks tend more toward an earnest seriousness, there are still several lively patches of abandon,
such as the toe-tapping conclusion to Caravan and the flamenco-esque shuffle of Truce. The album winds down with the ambitious slow burn of Madeline before closing with the gorgeous near-lullaby of Simple Things.
A beautifully balanced album, Small Inconsistent Truths is one of those rare collections of songs that leave you satisfied with the journey but itching to take it again.
-Troy Foster - Rip It Up, issue 1022

"About half of Gosia Winter's set consists of songs constructed using a loop pedal, layering sounds to create more and more complex arrangements using her guitar, voice, handclaps, and other percussive instruments. Even during her more straightforward songs she is capable of some seriously proficient guitar work, and is a great singer who performs with a good deal of understated conviction, often stamping her feet for emphasis. During her final number, Winter's backing track included a three part harmony on loop - constructed on the fly, no margin for error. She is a convincing, accomplished performer who is onto something cool." - XPress Magazine

"Gosia Basinska began her set solo using the looping mechanism made famous by the headline act and effectively transposed it to her nylon-string guitar. It was a charming homage to Pallett's signature and a captivating performance in its own right, and one that was compounded once her band was on stage. Expertly backed up by Natalia Lizama on piano accordion and Mat Marsh on percussion Gosia's avant-folk songs were not only a fitting precursor to the headliner but incredibly impressive compositions in themselves, pairing Gosia's distinctive vocal approach with gorgeously ornate arrangements that drew out the best of each musician."
- Adam Trainer, Drum Media, 18th December 2009 - Drum Media, Perth