The warm electronics of the artist are traded for meditative chamber pop.
The first half of the album is an art in repurposing. "Old Prayer" is taken from Lili Boulanger's early 1900's classical composition, "An Old Buddhist Prayer." Here her penetrative vocals seem to come at you from all angles, bearing the full theatrics of an entire choir. Beverly Glenn-Copeland's whimsical classic "Don't Despair" is given dark-sided instrumentation, Lafawndah's contouring voice sailing through the murk in ominous silhouettes. The most lyrically captivating track on the album, "You, At The End," borrows words from a Kate Tempest poem. When she belts "born to hold the world/under her tongue" it's delivered with such emotion, it's difficult to believe the words aren't her own.
The album is further brought to life through the imitation of natural elements. On "The Stillness" animals chatter, musicians gasp for air and water rushes and trickles. "Le Malentendu," or "The Misunderstanding" in English, tells the story of a friendship between two girls, opening with what sounds like a bubbling stream. Winds surge like passing breeze and birds call in "L'Imposteur." Lafawndah's stripped-down approach invites us to sit in these new environments, culminating in an album that feels as thoroughly absorbing as a good novel.