This eponymous Anglo-Scandinavian debut is essentially an exploration of simple song forms – albeit one that places those songs in some highly imaginative contexts. By positioning Hanna Olivegren's delicate and intimately intoned vocals inside extended instrumental techniques and electronic textures, it borrows very clearly from vocalist David Sylvian's appropriation of improv and abstract electronica on albums like 2009's Manafon, Yet there's an adventurous, DIY spirit running through it that gives it a more immediate, much less considered impact: on ‘King Of Everything’, tinkling bicycle bells and stuttering walkie-talkies build an improbably detailed sound-bed; on ‘Invisible Mender’, vintage radios receive transmitted synth signals, like messages from distant worlds; and on ‘Sonnet’ a frightening power-noise shriek arises out of nowhere like an avenging demon. It's all deeply felt and intensely realised. Still, you have to deduct a couple of points for the use of hoary old A-level-friendly poetry by the likes of Stevie Smith and Simon Armitage. There's a lot more urgent and compelling work being done in UK experimental poetry right now that would suit these sounds much better.