The intoxicating success of this record lies in the space and the pace. It lets you breathe within its resplendent, languorous arrangements.

The formidable ‘Comeback Kid’ was our introduction to Sharon’s return and this, along with ‘Seventeen’ and ‘No One’s Easy To Love’ provide the album’s most instantly memorable, uptempo outings. But it’s the more restrained moments on the album that really burn into your soul over time: the sparse, muted opener ‘I Told You Everything’, the somnolent bobbing drone of ‘Memorial Day’, the lilting Americana of ‘Malibu’ and the ghostly ‘Jupiter 4’. So much of this record reminds us of Low – not in the melodies or instrumentation necessarily - but in the harmonies and the glorious sense of space and unhurried confidence.

Reportedly taking inspiration from Suicide, Portishead and Nick Cave, her decision to work with producer John Congleton has paid huge dividends as he’s enabled her to create a deeply atmospheric and affecting record that not only matches her catalogue, but might just surpass it

"Her most extrovert, lean and unabashedly gothic record yet" - The Line Of Best Fit