Change opens with a warmth-inducing set of intimately recorded drums, and a downcast vocal performance — all of which are fitting with the lyrics, although quite lacking in the explorative nature this album boasts so well elsewhere. Lyrically, this track explores the duality of life and the interaction between happiness and sadness; with an eventual case in point being presented through a narration of moving on from a painful breakup, all in the spirit of *changing* for the better. Overall, both the lyrics and instrumental have the cadence of being highly emotive but leave a bit to be desired in terms of substance. Additionally, the mix overall is a tad disorienting (especially the drums) and also has some weird panning at times.

High 7.

Time Escaping: here, the simplicity is swiftly undone, which is something that acts as an immediate indication of the eclectic qualities of the record. The intricate lyrics speak of anxiety caused by an over-consumption of fear-mongering media in times of adversity — such as in recent years. However, the overarching message is an optimistic urging to make the most of one’s time; since it’s easy for it to *escape* and be wasted on these worries. These lyrics, to my taste, don’t carry all that much emotive weight; however, instrumentally, this cut features off-kilter rhythms with playful and optimistic performances which are powerfully uplifting, thus fitting the track’s spirit rather well.

Mid-High 8.

Spud Infinity opens with an immediately smile-inducing use of mouth harp and violin. The arrangement for said violin is pretty lively, and the performance is charismatically merry. Additionally, the guitar accompaniment is quite a subtle, volume-swell-using piece of ear candy which compliments everything else on the mix quite well. What’s more, the hook on this cut is enthusiastically jolly and likely to add a spring to any listener’s step along with the highly feel-good instrumental outro. Lyrically, this track is a top-notch albeit ever-so-slightly peppy exploration of many areas of the human psyche. The optimism in previous tracks is kept here in the shape of what’s being addressed as important; which includes the acceptance of ourselves, of others, and of the notion that everything’s all about perspective. Additionally, there’s a slight dread in between the lines as well — one that touches on overwhelming abundance; be it of humans themselves or of the *infinite* number of perspectives that this large amount of people implies. It’s an overbearing *spud infinity*, with which (if we master the craft of being in the “right now”) we’ll be able to make a “potato knish”; while accepting all that lies outside of reach… like our own elbows.

Low 9.

Certainty is a more laid-back, straightforward, and quintessential indie folk cut. Moreover, it features quite an alluring set of group vocals in what feels like a campfire-like setting. This more rough-around-the-edges approach to recording is added onto by virtue of a slightly saturated mastering process — something that is weirdly fitting and most likely on purpose. Lyrically, this track is applaudable to the highest degree; especially, the verse that takes the ups and downs of a “sine wave” and the uncertainty of light (between a particle or wave state) and parallels them with the coming-and-going, oscillatory nature of *certainty* in loving relationships — truly nothing beneath wildly poetic; while keeping it all short and sweet.

Mid-High 8.

Dragon New Warm Mountain I Believe in You is an unequivocally spot-on effort to evoke the feeling of magic. This magic is present in all aspects of this wholly beautiful song: from the heavenly vocal melodies to the orchestra of strings and guitars that wondrously surround them. Additionally, the reverb-adorned and simultaneously crystalline approach to production also cohesively brings everything together rather aesthetically. As for the lyrics, they seem to be a metaphoric detailing of the acceptance spoken about in previous tracks — and the re-explorations of these themes are compellingly heartfelt.

Low-Mid 9.

Sparrow is quite a witty (and, once again, very poetic) retelling of the Christian doctrine, the Fall of Man. Here, this tale acts as an allegory for female oppression at the hand of both men and religion; exploring the blame and stigmas placed on women in quite a saddening way. Instrumentally, this track is a more simple approach to composition, revolving largely around two melodic phrases for the whole duration. This, however, is coupled with a range of arrangements that evocatively add onto it; for example, the distant and distorted guitar tones, and the emotive tail end — with charmingly performed and layered falsetto vocals.

High 8.

Little Things —lyrically— comes across as an expression of a complete albeit nuanced fascination with a significant other. This is pushed further by a large number of ambiguous overtones — an appreciable way of exploring the not-so-optimistic aspects of relationships. Instrumentally, we’re treated to an uptempo yet melancholic combination of guitar, shaken percussion, and distorted guitar which (along with the distorted vocals towards the end) all layer in an utter wall of bright and dynamic performances. Simultaneously, they have a hypnotic quality to them due to their never-ending nature throughout the track.

Low 9.

Heavy Bend immediately features a massively powerful bass drum along with an absolutely beautiful arpeggio riff and one of the best vocal melodies off of the record. Overall, delivering a truly magnificent instrumental. Lyrically, it plays as a continuation of the last track, with *heavy bend* being a possible term of endearment; representing a turn in tone — wanting to let go of a fight for the sake of tranquillity in kinship.

10.

Flower of Blood is an endearing ode to vulnerability in times of physical touch and sexual relations. This topic is wildly complemented by a maximalist merge of shoegaze-like guitars, indie folk instrumentation and flavours of neo-psychedelia in a way that’s most definitely energetic.

Mid-High 8.

Blurred View is another completely mind-boggling musical feat of immersion and eclecticism. The dazzling intimacy of the rest of the record is maintained here, although with a completely different aesthetic. The charm, this time around, comes in the form of a more low-end-heavy cross between indie folk and trip hop — and a great one at that. The lyrics speak of a considerably sombre feeling of losing oneself in the face of love for somebody else, becoming *blurred* in the process.

Mid 9.

Red Moon is a wonderfully cheerful song about a need for rest and amicable connection with loved ones; in this case, we know who this means for Adrianne Lenker, courtesy of her shouted line: “That’s my grandma!” — fantastic. Instrumentally, we’re taken back to the folk-flavoured happiness that so greatly fits the lyrics’ disposition.

High 8.

Dried Roses makes a swift turn towards the melancholic, while maintaining the folk inertia of the last track. Additionally, it’s quite a captivating track with minimalistic production; letting the band speak for themselves in a way that feels charmingly candid. Lyrically, it’s a detailing of what could be interpreted as a set of menial, morning-routine tasks; however, with a palpable and somehow wildly evocative tranquillity. A personal interpretation is that *dried roses* represent the calmness of routine and the long-term — as they might not have the same brilliance as they did initially, but they can last for much longer.

Low-Mid 9.

No Reason has lyrics portraying feelings of isolation during quarantine. The gloomy touch on this track is also paralleled by a slightly downcast instrumental, affectionate performances, as well as an alluringly memorable and whimsical chorus.

Mid 8.

Wake Me Up to Drive takes a slightly lo-fi deviation in sonics, featuring electric drums performing interesting fills and a quieter production. Personally, I would’ve appreciated for this track to have had a more roaring approach since this one —even if it’s a good idea in terms of variety— leaves the track feeling slightly distant amidst other wonderfully warm cuts; especially since it boasts one of the more heartfelt choruses on the record. Lyrically, it’s a simple song about road-tripping but with an enjoyable essence of adventurous escapism and spontaneity.

High 8.

Promise Is a Pendulum parallels powerlessness in the face of nature with the undoing of loving relationships — suggesting a bittersweet message stating that conclusions in relationships are natural but dishearteningly unstoppable. Instrumentally, this track opts to stick with the fundamentals by making the choice of having one vocal performance and one acoustic guitar accompaniment to enhance the close-and-personal nature of the cut and the solitary post-breakup feeling nicely.

Mid 8.

12,000 Lines could be interpreted as a continuation of the last track, as the distancing from a previous loved one turns more and more bitter as time goes on. The instrumental side of things comes across as another laid-back and leisurely hug of reassurance through noteworthy melodies and calm-inducing performances.

Low 9.

Simulation Swarm: here, Adrianne Lenker takes a wide array of narrative-heavy moments and reminisces about what has been or could’ve been as a way to make peace with these past experiences. All the while using words like “simulation” and “drone”, juxtaposing these events with a somewhat unfitting technology and a final, wildly evocative peace offering in the form of the line “I wanna drop my arms and take your arms and walk you to the shore”. The instrumental is an amazing complement to the emotion already being evoked — with some of the most moving melodies of the whole record, on top of a tear-inducing, wholly profound vocal performance. Moreover, it’s also worth mentioning the playful, uplifting yet somewhat melancholic bass lines that we’re treated to throughout the track as well.

10.

Love Love Love is an aching representation of the feeling of lying to oneself and your partner due to being “scared to die alone”; eventually, looking for a “release” from this relationship/lie in order to find something truly passionate — but having already hurt someone in the process. Instrumentally, the vocal performance on his cut feels like one of the most genuine and enthusiastic on the album, with a near-shouted delivery towards the end; additionally, boasting great chemistry with the rest of the fiery and energetic arrangements brightly highlighted through expressive guitar tones and exciting production.

Mid-High 9.

The Only Place goes through means similar to “Promise Is a Pendulum” in order to arrive at a stripped-down and candid instrumental. This time around, the cut boasts a guitar arrangement mindblowing in its emotivity, along with fantastic vocal melodies. Ones that interestingly structure the track through minimal albeit striking melodic variations in quite an amazing manner. Additionally, this track is (in essence) a love song, but it goes beyond this central topic; delivering a truly sincere and shining showcase of affection — leaving the listener basking in romanticism.

Mid-High 9.

Blue Lightning seems to detail a corrupted relationship —one that has slipped through one’s fingers and is beyond saving— while expressing the pain that’s tied to admitting it, and the futile attempts to renew it. However, it seems like this rupture is but a segway to a more heartening realisation and frame of mind: one of wanting to make the most out of life, as suggested by the last couple of lines (which are also a cyclical callback to lines off of the first track). Instrumentally, one could call this cut one of the most ‘folky’ on the tracklist. Moreover, it features a wholly commendable chorus since it is highly catchy, uplifting, and simply enjoyable! Overall, a fantastic closer for a fantastic record.

Mid 9.