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In this song "Miss America", audiences find themselves in a lodging close to JFK airport, where Jennifer Walton receives the heartbreaking news that her dad has illness discovery. This Sunderland-born artist was touring the US on her initial visit, drumming with group Kero Kero Bonito, when suddenly sadness casts a shadow, coloring all in grey. Unsteady keys and hushed orchestration accompany dark reports emanating from the tour van: "Rural scenes and crumbling homes / Strip-mall, drug deal, panic attacks."

Walton's soft singing are delivered with a flat style, yet this record's tension stems from the keen penmanship—mixing fiction, folksy sayings, and blunt diary entries—coupled with surprising rich textures. Few tracks this year showcase stronger storytelling style than "Shelly", a piece that depicts the death of an animal and spirals toward a fuel-soaked reckoning, reminiscent of written works illuminated with glimpses of distorted cello. Tense, subdued verses featuring echoing, strummed guitar move into grand refrains, with Walton's vocals digitally manipulated to become a presence omniscient and menacing.

Listeners might previously be familiar with the artist from her work as an electronic producer, disc jockey, and contributor in groups like Caroline. The album's sonic turns draw on this varied career. The opener "Sometimes" bursts in flourish, like an ensemble taken unawares, whereas "Born Again Backwards" drastically ups the tempo with an intense, beautiful, looping drum fill. Dense layers of audio, expertly mixed by a long-term collaborator, feel both rough and spiritual, while Walton's morbid, enchanted thinking culminate in highlight "Lambs", a song that momentarily transforms into a twirling dance. "I hope your existence doesn't conclude with dying," Walton bargains, with heart-aching dark comedy.