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With Liela Moss has found a new way of expressing herself which convincingly says looking back at The Duke Spirit is unnecessary.
I was also doing this, and it struck me that the memory of her and other people in our lives, leave imprints and the echoes of their idiosyncrasies and little ways of being are always hanging around, sometimes framed by the rooms they once stood in.
I was thinking about equality and moments where that’s not achieved!
I then went into nonsense words, just sounds and utterances which I deciphered later as the bit about mountains and shoes.
Set to images of storms and mountains, the percussive Subequal maintains the intensity for a moody reverie on emotional rescue and resilience, the warm elasticity of Moss’s voice more than a match for its introspective verses and ecstatic, soaring refrain.
Multi-tracked voices and mellifluous synths create cushioning backdrops for Into the Flesh, an almost Kate Bush-like lullaby for someone (a child? ) coaxed into being; Moss’s emphasis on the word “softly” speaks quiet volumes about how these songs are nurtured into life.
A serene-to-stormy series of deep dream-pop meditations on devotion and selfhood, creativity and parenthood, it treats unknown territory not as something to fear but as a seed-bed of possibility.