Weaver was coming to terms with her father’s illness


in. Trish Keenan of Broadcast famously used this lyric-writing approach, and there are shades of that group, and Stereolab too, in the chintzy swirl of “Perfect Storm” and the loping funk that underpins “Emotional Components”, not to mention the fuzzy psych of “Happiness In Proximity”. Parish’s presence seems to have given Weaver the freedom to create extravagan­t arrangemen­ts which he hones into focus, as on “Univers”, an enchanting re‘ection on the natural order of things that started life as a country ballad but evolved into something quite stunning in the studio. Similarly, where perhaps Weaver might have piled on the synths to make a point in earlier recordings, here she exercises restraint to let the songs bloom. “The Axis And The Seed” unfurls atmospheri­cally over a “Metronomic Undergroun­d” bassline as Weaver sings of “the crocus buried deep” and nding “the axis and the seed”; this is what she means by love in constant spectacle: although the soil is cold and muddy, life is bubbling away under the surface and come spring the ‘owers burst into life. By the time the purring nal track “Family Of The Sun” coasts out of view, pulled away by a motorik drum-machine and cresting jangle, Weaver is serene and composed, singing, “I’m escaping this loneliness through the optical/and completing this task”.

There’s a pleasing sense of closure in the album’s circular ‘ow, which also, inevitably, possesses that sense of optimism that runs throughout Weaver’s catalogue. This might well be her nest record so far, but you can bet the next ones will be even better.

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