Australian songwriter Sarah Blasko arrived in the U.S. in 2005 with a pedigree that couldn't be ignored: trailing a list of ARIA Award nominations in the categories of Best Album, Best Female Artist, Best Breakthrough Artist, and Best Pop Release, she also distinguished herself -- and perked up the ears of rock skeptics -- by being tagged somewhere along her cross-continental journey with the moniker "Girliohead." The comparisons were not unfounded. Like Radiohead and the countless lovelorn, world-weary, too-smart-for-their-own-good British piano pounders that the band spawned, Blasko proved to be an appealing wallower. Her ethereal, at times Fiona Apple-like voice rode the gentle arrangements on her debut full-length, The Overture & the Underscore, taking care never to redirect them, and her lyrics evoked an atmospheric grace that burrowed into the mind's dark recesses. Blasko's head space was apparently the kind that's allergic to daylight.