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Within this track "Miss America", audiences find themselves in a lodging close to JFK airport, where the musician learns a devastating news that her dad has cancer discovery. This Sunderland-born artist had been touring America for the first time, playing alongside indie band Kero Kero Bonito, when abruptly grief casts a shadow, coloring everything with melancholy. Unsteady piano and soft strings accompany gothic dispatches from the tour van: "Rural scenes and crumbling homes / Shopping centers, illicit trades, anxious moments."

Her gentle singing come across with a deadpan style, while this album's tension stems from her keen writing—mixing stories, folksy sayings, and direct personal notes—coupled with unexpected rich textures. Not many tracks this year showcase more potent storytelling style than "Shelly", which depicts the death of an animal and spirals into a fuel-soaked confrontation, reminiscent of written pieces illuminated with glimpses of warped strings. Tense, subdued sections featuring echoing, strummed guitar move to grand choruses, and her vocals digitally manipulated into a presence all-knowing and sinister.

Listeners may already know the artist from her work as an electronic producer, disc jockey, and member in groups such as Caroline. The album's sonic turns reflect her varied background. The opener "Sometimes" erupts with flourish, like a string band caught by surprise, while "Born Again Backwards" drastically ups the BPM via an intense, stunning, repeating drum fill. Dense walls of sound, expertly produced by a long-term partner, feel both rough and ethereal, while her morbid, magical thoughts culminate in highlight "Lambs", a song that briefly becomes a swirling dance. "I hope your existence doesn't conclude with dying," Walton bargains, exuding poignant dark comedy.