Comprised of German keyboardist Daniel Hermann-Collin and Mexican vocalist Camila De Laborde, it’ll be difficult for the Lisbon based duo known as Camila Fuchs to escape comparisons with post-Kid A releases by Radiohead and Homogenic era Björk on their Sonic Boom produced third album Kids Talk Sun. The dry vocal delivery and swathes of miasmic electronic lacquers that crackle and broil over the pop core make it feel like the missing jigsaw piece in the puzzle those two albums created.
Whereas Yorke and co built a record specifically tuned to resonate in pitch dark digital winters in forests and tower blocks, and Ms Guðmundsdóttir crafted an album that envisaged an electronic spring emergence amid rocky mountain and volcanoes, this record is built for the rest of the year. Those months that split the end of summer and document the start of autumn, as the morning sun hangs ever lower on the horizon, creating a glare for all who look at it and frosts start to form on the dying leaves that drop from the trees and cluster on the pavements below.
Sun, which opens the record’s first half has De Laborde begging for warmth, in an at times jarring cheekily Scandinavian rasp, Gloss Trick shares parental lineage with Kid A’s Everything In Its Right Place, a glitch obscured instrumental hymnal that blankets the speakers before it drifts away absently on warm air. On Roses, the pair capture that anxious feeling you get waiting at traffic lights in a rainstorm, indicators on, ready to turn, with your line of vision blurring as the wipers drag sleet across glass.
Meditative and densely amniotic, Silenced By Hums captures the mechanic explorations and decompressions that consume the last half of the record. On Come About you find Hermann-Collin’s keyboard and staccato drums shimmying confidently around De Laborde’s pining isolated vocals, enveloping her in consolatory splendor. It ends with Pool Of Wax where Fuchs loses the familiar Knife vocal stylings and adopts a smoky monotone recalling Yoko Ono at her most motherly. As the name indicates, its structure mutates from twangy dubstep to ambient mist and the remnants of the record slowly disperse away from the listener. On the track, Laborde sings of “having no option but to dive in” after some keys thrown into a pool, one that has presumably been heated by the titular globe. The refrain radiates diminishing heat; a wall of sonic lava that slowly devours everything in sight in a heated embrace as it calmly solidifies.
Akin to falling asleep next to an electric fire whilst snow begins to fall, Camila Fuchs have created an extrasensory gift of a record, one that is affectionate, woozy and a comforting delight in these most taxing of times.