Fourth album from a talented Scottish artist that will appeal to fans of Portishead amongst many more.

It makes sense that Joseph is supporting Mogwai on tour around Europe. This album is less a collection of songs than a moodscape, an emotion, a feeling. Just the sort of thing her fellow Scots excel at. Opening track ‘WOLF.’ does not so much play as pulse along. An intense synth heartbeat at the core of its sound.

Whilst this is not a break from Joseph’s earlier work this one has more teeth. The earlier albums use quiet as a powerful weapon, the instrumentation is kept simple and clean. Here synths intrude on the quiet, adding layers of intensity.

In places, particularly BEL(II), it feels like Joseph is channelling Radiohead from around The Kid A/Amnesiac era. Her voice is utter fragility on some tracks, at other points it is as loud as a whisper could possibly be. Whilst very much her own style there are also moments which strongly bought to mind Beth Gibbons and Portishead. These are high compliment comparisons. It is an intoxicating, spell-binding mix, at times haunting.

The production is an absolute strength on this album. ‘DEER’ begins with a more piano-y keyboard sound. The whispering vocal is powerful. The warbling synth line that kicks in just elevates it all several times. The choices of when to expand the sound or when to keep it narrow are all well taken.

At times this album feels incredibly primal. Powerful lyrics are scattered through the whole album, but ‘ROADKILL’ has a real intensity running through it:

“light a fire
make a bed funeral pyre
you can call me roadkill.

i am fucked here
by want and desire
just to have my mouth filled”

It is hard to pick a standout track as they are all so strong. Some are uglier, some are incredibly beautiful. All feel vital, none need cutting. This is a stunning album. Joseph is on tour over the next few months, we will see her at Omeara in London in October: https://kathrynjoseph.co.uk/?srsltid=AfmBOoolZIYTKO-s9kezGGX6_ehGg3cs8UOltuzvc9Qio44a-CZ47gP0