Cate Le Bon: Reward

Cate Le Bon’s Reward cleaves into two distinct halves, one that pulses with ideas and legible emotions and another that wanders, sputters, and jars under a pretense of free-associative experimentation. In her previous work, the Welsh musician has purveyed left-of-center, dreamy yet slightly discordant psych-folk. Blessed with both a classically gorgeous voice and an ear for friction and quirk, Le Bon uses her silken vocals like a decoy, teasing low-key balladry while guitars, horns and xylophones abrade together in the production. In this spirit, prior albums Crab Day (2016) and Mug Museum (2013) offered melodic tunes with enough avant-garde braininess to differentiate Le Bon from fellow songwriters (Laura Marling, Julien Baker) who write, sing and play guitar with notable mastery.
Reflecting on the process of creating Reward, Le Bon describes living alone in a cabin in England’s Lake District, attending furniture-making school by day and setting scraps of dreams and memories to music after dark. This self-imposed solitude undergirds both the best and worst instincts of this new album. “Daylight Matters,” “Home to You,” and “Sad Nudes” paint both personal and societal isolation with disturbing clarity, while “Magnificent Gestures” and “You Don’t Love Me” appear more like doodles that only make sense to the person sketching them. The latter song builds an ear-pricking fusion of exhaling synths, a sax that blurts tastefully around the chorus, and a spare guitar riff that brings a touch of disharmony to the track.
These sounds establish an anxious mood, portending an off-kilter treatment of unrequited love. Upon closer inspection, however, the lyrics resemble an exquisite corpse, a surrealist writing exercise meant to unlock subconscious ideas that purposefully don’t cohere. “Take your cake out of my face” is a great clap-back line, but Le Bon follows it up with a series of aleatory phrases strung together: “On point / Divine / Die hard.” Having established her own cleverness on better songs than this, Le Bon threatens to make the listener feel stupid for not getting the gist. Listening to “You Don’t Love Me,” “Magnificent Gestures,” and closing track “Meet the Man” conjures the experience of puzzling over squiggles on a canvas while a hipster in thick-rimmed glasses whispers “but it’s art!” in your ear.
The album’s more illuminating songs clock the malaise of living in a techno-capitalist proto-dystopia, our psyches warped by devices through which we send nudes but don’t talk. It’s a status quo that’s both decaying our souls and reigning very much supreme, and these songs register ambient anxiety that pricks the brain like a migraine that won’t go away. Thanks to her zeal for odd sonic experiments, Le Bon effectively transposes that jarring state of consciousness into sound. “Mother’s Mother’s Magazines” and “Sad Nudes” work as a pair of dispatches from different moments of gender-based disappointment, written from two distinct female perspectives.