In a world where musicians are often expected to release the same record over and over again, LUMP explorers are on a mission to force them down uncharted paths, and Animal suggests that there is still much to be searched for. Originally thought of as one-of-a-kind, Laura Marling and Tunngs Mike Lindsay structured a search for alternative universes where the rules are completely different. As a result, LUMP continues to grow and change as it discovers new parameters.
There are shifts to LUMP that reflect these changing perspectives, nothing is exactly like it was three years ago. Lindsay sees it this way: “We created LUMP as a kind of persona and idea and creature. Through LUMP we find our inner animal, and through that animal we travel into a parallel universe. ”Probably not your typical folk perspective, which explains why the electronic component of the album is so high. While Lindsay focused on the music, Marling took care of the lyrics and said, “There's a bit of a hedonistic theme on the album, a wild desire. And it also contributed to the idea we had from the start of viewing LUMP as a kind of representation of instincts, and the world was turned upside down. "
The sequencers that open “Bloom At Night” lay a foundation, while Marling conjures up a biblical fantasy: "Those who are celebrated go to God to be renamed / it took seven days for a god to go insane. ”The insanity splintered with several marlings singing“ insane ”as the bass kicks in and the song in full Girth moves as drums and bass are added to the mix, suggesting this LUMP is a very different beast from the first.
Fading into “Gamma Ray”, a heavy dose of percussion takes control of a darker, pristine groove. A dissatisfied, almost absent-minded Marling sings: "Licked with fire / those old longings / who live in it". She changes to a more human and humane voice and later adds, "The agony / the fantasy / something that needs to be locked up." Most disturbingly, distorting beats and shifting lyrics develop. In the end, Marling's edited vocals add to the ever-changing theme.
There are twitching moments on Animal that make you feel like this is going to be a horror movie, but by the end of the song, Lindsay's music has taken on a more hopeful tone that is also reflected in Marling's vocals. & # 39; Climb Every Wall & # 39; plays as anthesis of & # 39; Climb Every Mountain & # 39; by The Sound of Music, instead of trying to climb the heights, what happens is a gateway to inner agony: the door / Freedom was finally knocked out / But you fell to the ground. "
"Oberon" was written for her solo performances and could never find a home, but being the penultimate track on Animal Lindsay gives it a smooth, loving note that works well when it progresses into the "Phantom Limb" finale. Not far from a bossa nova, the piece offers a fitting conclusion. Tying it all together, Marling recites the credits again, just like with the first offer.
As a treasure trove of influences that don't fit into the confines of their day-to-day work, Laura Marling and Mike Lindsay use LUMP to keep moving and examine areas that may not be quite as fan-friendly. But Animal proves that you can gain a lot with trips to even more unknown terrain.