The album plays like a cracked, tarnished mirror of its predecessor, replacing long-form expression with tighter, more explosive and sometimes completely freeform transmissions. Where "Cave in the Wind" opened with almost 30 minutes of gravelly neo-classical, "Star in the Hood" begins with the relatively brief 'mommy's girl', cycling ghost drones, dialog and piano motifs that blur into thrumming, heartfelt noise. 'black star' is all loping, looping piano and chthonic vocals spiked with cheese-grater noise and chipmunked chirps. But it's Klein's delirious vocal runs that push this one to the next level; like her style-defining earliest releases "Lagata" and the Hyperdub-released "Tommy", this one subverts the raw material that makes up R&B, turning memorable hooks into blurry impressions. The track leads out with a performance that glues itself to your mind like a diva moment on a Suburban Bass cut. Klein keels into longform on 'schooled', fogging organ drones into ketty clouds that gust into imposing shapes over the 10-minute duration, rekindling the dialog between contemporary noise and gospel music. Grandiose classical sounds receive a similar drag on 'Friend in the Mirror', pulled into disorienting shapes that dispel any notions of class gatekeeping; in the final third, Klein's voice interrupts the mood, before machine-gun percussion reminds us not to get too comfortable. If yr in search of beauty, 'postcode wars' is the cure for what ails you, with Klein fuzzing euphoric