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Like the many Banded Stilts that spread across the cover of her newest album Flood, Stella Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as an artist among the flock, and how abundant one individual can be. Flood is Donnelly's record of this rediscovery the product of months of risky experimentation, hard moments of introspection, and a lot of moving around. Her early reflections on the relationship between the individual and the many can be traced back to Donnelly's time in the rainforests of Bellingen, where she took to birdwatching as both a hobby and an escape in a border-restricted world. By paying closer attention to the natural world around her, she recalls InchI was able to lose that feeling of anyone's reaction to me. I forgot who I was as a musician, which was a humbling experience of just being; being my small self.Inch Reconnecting with the 'small self' allowed Donnelly to tap into creative wells she didn't know existed. Soon songs were coming to her in a way she could not control and over the coming months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the country, often finding herself displaced due to border restrictions, a tough rental market, and once from the joys of finding black mould in the walls. InchI had so many opportunities to write things in strange places,Inch Donnelly remarks, having passed through Fremantle, Williams, Guilderton, Margaret River and Melbourne. InchI often had no choice about where I was. There's no denying that not being able to access your family with border closures, it zooms in on those parts of your life you care about.Inch With new locations came new approaches. InchIt freshened things up for sure,Inch Donnelly says, and writing with band members Jennifer Aslett, George Foster, Jack Gaby and Marcel Tussie, soon began to feel like kindergarten pla
