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Within the song "Miss America", listeners are placed in a hotel room close to JFK airport, as the musician receives the devastating news that her dad has illness discovery. The UK-raised performer was touring America for the first time, drumming alongside group Kero Kero Bonito, when abruptly sadness takes over, tinging all in grey. Unsteady piano and hushed orchestration accompany dark dispatches from the road: "Rural scenes and crumbling homes / Shopping centers, illicit trades, anxious moments."

Walton's gentle singing are delivered with a flat manner, while this record's tension stems from the sharp penmanship—mixing stories, folksy sayings, and blunt diary entries—coupled with unexpected maximalism. Few songs recently possess stronger storytelling style compared to "Shelly", a piece that describes the killing of a deer and descends into a fuel-soaked confrontation, evoking written works lit by glimpses of warped strings. Tense, subdued verses with resonating, plucked guitar transition to expansive choruses, with her vocals digitally manipulated to become something all-knowing and sinister.

Listeners might already be familiar with the artist from her work as an electronic producer, disc jockey, and contributor to bands such as Caroline. The album's musical twists draw on her diverse background. The first track "Sometimes" erupts in flourish, as if a string band taken unawares, whereas "Born Again Backwards" radically ups the BPM with a punishing, stunning, repeating percussion. Thick walls of sound, expertly produced with a longtime partner, feel at once gnarly and spiritual, while Walton's morbid, magical thoughts peak on highlight "Lambs", a song that momentarily becomes a twirling jig. "May your life never end in death," Walton bargains, with poignant gallows humor.