Rarely chained to conventional structure, Brown’s appetite for ‘cut and paste’ artistic free-for-all feels engrained within his approach to songwriting. Unlikely interludes and plot twists lie in wait around each corner. Behind thrashing, washed out guitars, MELLAH’s intricate delays and vocal chops transition into Nuha Ruby Ra’s softer, more elastic outro verse on "Sally Out". Both contributions feel organic and impeccably considered behind the dense, cinematic textures.

Despite being divided up amongst the crowded track list, each artist feels tightly synchronised to the jurisdiction of Brown’s creative compass. Whether by luck or thorough briefing, nothing appears awkward or out of place against the wear and tear production style. Brown can turn a punchy '90s guitar hook ("Bot Mot") into twinkling chime atmospherics ("Sol") without practically lifting a finger. His genetic makeup never ceases to evolve within his music’s shapeshifting parameters.

Dream Wife’s Rakel Leifsdottir echoes Beach House on the celestial "Hawing". Even above the layers of bulky reverb, her beckoning vocal remains the focal point as she strides across the track’s sweeping landscape. This compulsion to sound infinite occupies the bedrock of Yore’s foundation. His willingness to outsource ties together a patchwork vision that unravels far beyond the limitations of a static line up. It’s a convincing first solo offering from an artist whose revolving door policy keeps collaboration always within reach.