CTM’s fourth album appears ambitious, and much of it is. However, ambition travels as far as an artist’s intuitive sense of finality and ‘Babygirl’ feels like the beginning of a thought that stumbled upon physical form. Some of CTM’s aspirations, particularly the otherworldly overtone, are stifled by a lack of engaging material; it is difficult to create a convincing world when being continuously interrupted by so many sonic shifts, however intriguing. CTM’s subdued vocal performance, despite giving her experimentalism a laidback, cool narrator, often comes off as genuinely unenthusiastic. So inoffensive is the voice that it ends up contravening some otherwise speculative instrumentals.
A favourite: ‘Beige Barley’
‘Babygirl’ is out now via Posh Isolation.