Graham Reid | | 1 min read
Available technology allows for some lovely layering of vocals (the fragrant Don't Follow Me) and the gentle oceanic movement of synths in places make for some easy/uneasy listening.
Instrumental passages such as in Leaving for Japan are pretty but hardly innovative.
And the sound of a Joy Division 45 on 33rpm parallels the icicle in her heart of a piece like the disconcerting So Much Better (“I'm glad I caused you pain . . . I'm happy you are still the same, I'm so much better . . . than you” ) which is akin to a detached, monochrome Princess Chelsea track.
That high and present bass is part of her aural signature (Took a Long Time) and the loveless, cold lyrics of Ian Curtis are also in her orbit on songs like I'm Conscious and Took a Long Time.
This is a seductive album for its textures and cohesion (if it had more sensuality and eroticism in the lyrics it would be close to some material by Vanessa Daou), but with a few exceptions – the almost pop of So Much Better, the downbeat electronics of Push On – this comes off like a look in the mirror for all concerned.
You can hear it on Spotify here.