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In the song "Miss America", audiences find themselves inside a lodging near JFK airfield, as Jennifer Walton learns the devastating news of her father's cancer discovery. The Sunderland-born performer was touring America on her initial visit, playing with indie band Kero Kero Bonito, when suddenly grief casts a shadow, coloring all in grey. Unsteady piano and soft orchestration underscore gothic reports emanating from the road: "Cattle farm and broke down shack / Shopping centers, illicit trades, anxious moments."

Walton's gentle singing are delivered in a deadpan manner, while the record's tension arises from the sharp penmanship—mixing stories, traditional phrases, and direct personal notes—coupled with surprising rich textures. Few tracks this year possess stronger storytelling style than "Shelly", which describes the death of a deer and descends toward a petrol-laden confrontation, reminiscent of literary pieces illuminated by glimpses of distorted cello. Anxious, subdued sections featuring echoing, strummed strings move into expansive choruses, and her voice electronically altered to become something all-knowing and menacing.

Audiences may already be familiar with the artist from her work as a music creator, DJ, and contributor in groups like Caroline. The album's musical twists draw on this diverse career. The opener "Sometimes" erupts in flourish, like a string band taken unawares, whereas "Born Again Backwards" radically increases the tempo with a punishing, stunning, repeating percussion. Thick layers of audio, expertly mixed by a long-term collaborator, seem at once rough and ethereal, and her morbid, enchanted thinking peak on highlight "Lambs", which momentarily transforms into a swirling dance. "May your life never end in death," Walton bargains, with heart-aching dark comedy.