So good it garnered two Songs of the Day this year before release, a sophomore LP packed with sublime upright and electric bass lines, infusions of brass, a unique experimental blend of voice and instruments mixing pop, jazz and classical by the Bristol artist. A short work of just eight tracks, but all full of fascinating fusions and invention, and including themes of contradiction and altered states of consciousness. Wake Me Like has rolling piano sounds, orchestral instruments and a wonderful wooziness that captures that moment of falling awake in a dream-like state. Ambulance is beautifully sung chamber pop with orchestral strings and delicate marimba, yet also laced cutting lyrics: “Can't I be the witness / Rather than the bitch with the knife? / Can't I be the ambulance? / Saviours aren't known for ending life.” There’s a Kate Bush eccentric sort of confidence here, choosing instrumentation with clarity and a maturity of space, from opener Into You to the clever syncopations of Money Metaphor, the low-key funk-jazz of My Why (‘cos is feels good …”), the oddball shimmering electronica of Now And Then, the ghostly sparseness of Dina, to the trembling trumpet and strings and jittery keyboards on the closing title track that swells and rises finally with brass to a gorgeous conclusion. Beautifully sculptured, delicate, precise, original composition. Self-released.
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