This record is worthy of a dissertation written on it (technique, composition, intention, artistry), but this review is top-level for a listener. This is a spoken word record which weaves in layers of kaleidoscopic soundscaping using a multitude of genres, instrumentation types, foley, and sung voice. It is an immersive experience, a little bit like visiting a top notch museum: you will leave full of wonder and inspiration about what humans are capable of. This is an event horizon of creativity: a balm to writers block.
Structurally, this is 14 tracks which vary in length, thematically divided by spoken prose and musical collaboration. It would be an insult to say the musical component is a ‘backing track’ for the spoken word. Here, the words are wrapped around the sound, sometimes with the use of phrase repetition, sung response, and sometimes fighting the instrumental mix for space.
This is true Collaborative soundscaping at its most sophisticated. And in every track, it is an absolute triumph. The record does manage to keep an overarching identity, particularly in vocal processing and use of delay: it threads together the intent of the whole record, adding another subtle but excellent craft in production.
The first track is Restlessness, which, as per namesake, uses punky up front guitars (love a tremolo), juicy wet drums, driving subby bass. The track aligns closer than most to a pop song in structure, with spoken prose doubled, short slap delayed, and the use of phrase repeats in the ‘chorus’. I think this is a wise first choice as it gently raises the listener into more pioneering sounds from a starting point of relative familiarity. The spoken text has high energy delivery, which is clear and bright. infliction on the word ‘Tragedy’ is a challenging oxymoron: is this an ending? Is it awful at all? I am left in suspense by the subtlest of techniques.
Hopeless things…the stars: focus is demanded from the first second, as it opens on a blues scale in an oriental instrumentation and then hard panned guitar bouncing between speakers. It then cuts to an entirely different feel with an acoustic guitar on a minor riff. The spoken word comes in more intimately over a minor 7/9 chord. This time the spoken tone is gentle, smoother. I appreciate the more static elements, played against the organ sound. The text is delivered in a familiar storytelling rhythm. The track is unique in its hard-panned triangle and noodling guitar interwoven throughout. A chilled, but textured track. I love the word ‘fantastic’ delivered with such enthusiasm. The song has a lovely groove as it heads towards the end, giving space to the instrumentation.
All gone. That time. Those people. Pawb wedi mynd yr amser hynnw y bobl hynny opens with some smooth synths, and a female vocal is introduced, with both spoken word (intimate, close, gentle) and soft echoes of phrases and silky female ‘ooohs’. A nice electronic beat pulls this into a proper song format. All gone is sung in a beautiful major chord that lifts the instrumentation. The male vocal introduces at a marker of a chorus ‘All Gone’ which is looped softly in the background, creating a wonderfully full warm, breathy melody. I like how the female and male voices interact and overlap. Its great to include some Welsh passages. A genre-blending, powerfully executed track using vocal melody, to unlock some dopamine in the listener. A favourite with listeners, Im sure.
What is not desired has never existed. The filtered drums and dark synths give this an EDM feel, but there is a jazzy, lounge horn playing back in the mix, giving it a sophisticated feel. There’s a long introduction without vocals, which really lets the listener relax into the feel and groove of the piece. I love how the track swells up around the vocals, just beginning to fight with the vocals, and then subsides. There is a lovely ebb and flow to the piece. I would like the lyrics ‘purred’ slightly more to match the track feel (tremolo, fuzz, whisper). Again, there is a lovely contrast of midi and acoustic instrumentation, and a lovely tapestry of smooth, wet, and dry close textures. A sensual, slithering track that gives more space for me to focus on the spoken word on first listen. Sexy.
I stare with stupidity at the freedom of the flowers Opens with closer vocals with a short slap delay. Read In the first person, this reads a bit like a diary entry. Masculinity is explored, and so much meaning to be gained at a personal level. A short track with interesting instrumentation but lets me focus on the words more.
The Truth has the most gorgeous dry drums, dropping in a wonderfully subby bass, with a jazzy chord loop. I am absolutely satisfied by the instrumentation alone. The backing vocals respond to the spoken word by David which shows a nice collaborative approach to responding to the track and crafting around the spoken word: it respects the percussion and pentameter of the spoken word. A classy short track that fades with a rarely used echo delay on the word ‘tell the truth’. Effective and brave.
The next track is called THEN, BUT VERY MUCH NOW. NOW, BUT VERY MUCH THEN. This feels an inspired take on an indie track from the early 2000s, bass very high in the mix, distorted guitar, tambourine, wet drums. Very clean and sparse, not overworked up. Panned vocals use here is a nice variation, a bit of playfulness help break expectation. The track ends with a similar echo to the previous track, offering some continuity.
SHE (The far-off interest of tears) is a favourite highly cinematic track; the initial swell had an instantaneous impact on my nervous system: that’s about as far as you can take a listener before it needs a ‘sonic warfare’ label (meant in jest). The track opens out to now gently plucked and teased discordance and discomfort in chords and textures. A stunning saxophone, and choral male sung sections navigate more gently in balanced prosody to the spoken word. These haunting, darker ‘thoughts’ capture me hardest. Its like entering the daker corners of someone’s mind. The cliffhanger of whispers that pan away from the listener at the end is really special; its like being sucked into, then peeled away from an inner world just occupied for a few minutes. What sorcery is this?!?
The Young Know Things Are Parents Didn’t is a fantastic contrast from the previous tracks’ darker feel, and with the beautiful water foley, a dreamlike landscape manifests. Bright filtered pianos, wide vocal delay, floating and sparce sounds start to subtly turn more sour throughout the track. Again, this is a favourite track: the foley just lands at the right place in the record like a palate cleanser. The spoken word is delivered in a digestible tempo with plenty of space for the listener to sink into an internal world, and the ending is pensive and reflective of the change in tone of language. Very clever and yet accessible.
The Potion and the Poison opens with a fantastic build-up from drone, flickering percussion, organ, piano, etc. It layers up its complexity gradually and takes the listener with it, giving plenty of time before the spoken word is introduced. The language is contemplative yet urgent, and the vocals pan to generate movement to suit. A longer track again, which helps give enough space and time for the words to sink in.
The next track, THIRST, starts with some familiarity with the concept of prior tracks, only to ‘restart’ with guitar in an indie/pop progression and feel. Well placed within the record, I’m ready for the lighter vibe of the track. The low thudding drums are a perfect fit (Toms are panned through, nice). The vocals are repeated in a structure that fits a space that sung lyrics would occupy. Almost like this was put to sung vocals, and then replaced with spoken again: perhaps it was reimagined as a written as a song before production. The delivery of the text is a little safe and familiar here.
It was the intention that mattered is next. I am more drawn to the story-like narrative of this one. Gentle instrumentation lifts the words up and out well with nice flange reverb guitars gently picking behind the words; some memory of Pink Floyd is buried in this. Sometimes I want the words delivered in a more conversational or lyrical tempo and style. Wonderful touch on the guitar, and an interesting pull and push on gain (or is my headphone connection dodgy?).
Something has not been said: a continuation of that drastic gain change use into this track. A cocktail of Crowded House and Duran Duran feels is offered in a relaxed sonic context. Tremolo guitars, clean bass solos, and less text spoken. The gain contrast is a good auditory challenge, but it can leave a dizzying effect.
Finally, …All her geese are swans has an amazingly groovy opener with grassy or woody strings. And a striding bassline. The questioning infliction of this prose works really well here. The instrumentation is too good, I’m lost in it, so clever and effective, it reminds me of Rosalia’s Lux in percussive and processing use of strings. Sparse, classy, attention-grabbing with skill. Ending with the record’s title: All her geese are swans. It was brave to put this last as it’s one of the strongest groves, but it lingers, so the bravery is rewarded.
Some of the tracks are so wonderfully lush and decadent with sounds that some ears (like mine) will be too distractedly excited to keep tuned into the words (e.g All her Geese are Swans). There’s an awful lot of detail to admire. That said, focus and accessibility were improved with the longer tracks (e.g., what is not desired, never existed). There was more breathing space to relax into the spoken word, and a more sonic guide for my ear to move between elements. Remember that in sung lyrics, we are used to hearing more simplistic narratives. Here, each phrase can be interpreted, unlocked, and admired on many levels, and that takes more cognition to engage with. More exploration and manipulation of the spoken word could have been done either using digital manipulation or in the delivery style. Volume, pitch altering, distortion, and microphone position changes could have demanded more attention against some of the busier tracks.
Overall, the words mostly cascade out like secrets revealed of humanity: small, intimate moments of behaviour, vulnerable thoughts. Snippets of quiet heartache and search for meaning. For some tracks, there is clear pleasure in the speaking of the words themselves (e.g ‘fantastic’ in hopeless things, the stars, for e.g). They are full of human contradictions and emotional minutiae that is rarely articulated with such power. The prose captures moments and feelings that give light and reflection into a deeper part of us. I love the use of the Welsh language, and the regional accent that stamps this record with pride in its locality. Lyrics and tracks are free: access is chosen.
SCORE/Outstanding: This is a clear masterpiece, both in musical composition and craftsmanship, but also in its use and choice of the spoken word. I am rarely so moved by a record; all elements are in symphony in unlocking the human condition, and I was immersed in a kaleidoscopic emotional landscape that made the world feel dull when I took my headphones off.
[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]
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