Fenne Lily

BREACH

While the warm emotionality and elegant melodicism of BREACH should earn her legions of fans, it’s the little snippets of hard-to-admit truth that are going to come to mean the most to people.

Aside from some uninspired, though pretty acoustica, ‘BREACH’ is a stellar progression overall.

She’s long had more than a knack for writing heart-wrenchingly honest songs, but ‘Breach’ sees her unleashed. She’s more confident, clever and powerful.

It’s a raw, cathartic, but incredibly gentle record that pushes through personal boundaries, and wonderfully reiterates the fact that it’s okay to be alone.

Throughout BREACH, harsh realities and existential questions sit side-by-side, creating a stunning record that is as relatable as it is profound.

Despite Steve Albini's production, Breach is an often quiet, hushed album, but its message - one of discovering happiness in solitude - comes over loud and clear.

It's early days yet, but Fenne Lily might just be a major talent in the making.

The cherished relatability of Lily's lyricism continues in 'BREACH' and sees the singer-songwriter leaning into a realm of not loneliness, but rather being alone – and more importantly, to be content with it.

Lily’s newfound range largely delivers on BREACH, as does her touching and resonant songwriting.

After the heavy-hearted indie folk of her debut, the Bristol singer-songwriter returns with a scruffier, more far-ranging record about developing a self in your twenties.

Making her Dead Oceans label debut, her second album, Breach, is an inward-looking set of songs written during a deliberate period of isolation. Later recorded in Chicago with producer Brian Deck and Steve Albini, its slightly more expansive sound is evident on tracks like the lush "I, Nietzsche" and spiky "Alapathy."