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In this track "Miss America", listeners find themselves inside a hotel room close to JFK airport, where the musician receives a heartbreaking news that her dad has cancer discovery. The Sunderland-born performer was touring the US for the first time, drumming with group Kero Kero Bonito, when suddenly sadness casts a shadow, coloring all in grey. Faltering keys and soft strings underscore gothic reports emanating from the road: "Rural scenes and crumbling homes / Shopping centers, illicit trades, anxious moments."

Her soft singing are delivered in a deadpan style, yet the record's tension arises from her sharp penmanship—blending stories, folksy sayings, and direct diary entries—coupled with unexpected rich textures. Few tracks this year showcase more potent novelistic style compared to "Shelly", which describes the death of an animal and spirals toward a fuel-soaked reckoning, reminiscent of written works illuminated by flickers of distorted cello. Anxious, quiet sections with echoing, strummed strings transition to grand refrains, and Walton's voice digitally manipulated into a presence omniscient and menacing.

Listeners may already know Walton from her work as a music creator, disc jockey, and member in groups such as Caroline. The album's sonic turns draw on this diverse background. The opener "Sometimes" bursts with flourish, like an ensemble taken by surprise, while "Born Again Backwards" radically increases the tempo with an intense, stunning, looping percussion. Dense walls of sound, expertly produced by a long-term collaborator, seem at once rough and spiritual, while her morbid, magical thoughts culminate on standout "Lambs", which momentarily transforms into a swirling dance. "May your life never end in death," Walton pleads, with poignant gallows humor.