A beautiful, intelligent debut album...
'Caught In Still Life'

Posing as potentially one of the least boring albums of this fucked up year, 'Caught In Still Life' supplies everything that needs to be heard in an electronic album, and more. With continuous spangled rhythms and having that familiar element that you can’t quite pinpoint, it’s a definite one for (un)easy listening. 'Cry No More' opens the album with an exact example of this. Semi-sounding like Kygo’s ‘Firestone’, whilst bringing soprano that even he couldn’t dream of reaching, the track seems old but still as exciting.

Throughout the thirteen-track LP few genres seem to be left untouched, with instrumentals, pop and indie tracks being given the electronic spark to make this a Vaults-friendly release. And it seems that it’s not solely the production that’s ever changing, it’s the lyrics too. Supplying the words of every pre-pubescent’s diary, constantly converting from optimistic to pessimistic, but overall realising at that ripe age it can’t be that bad.

'One Last Night' supplies the catchiest track of the album, with the oriental underlying beat cancelling out the slow pace of the lengthened vocal, making it irresistible to both move and sing to. But from this point onward, this seems to be the common outcome.

'Poison' and 'Overcome' provide the final evidence of how beautiful Blythe Pepine’s vocal can purely be, whilst 'One Day I’ll Fly Away' gives everyone the chance to say their final goodbyes. But hopefully, not for long.

Words: Mollie Mansfield

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