Liela Moss shares “The Individual” remix

With her new remix album Who The Power (Reformed) out 26th March, via Bella Union, and having previously shared UNKLE’s remix of ‘Atoms At Me’ and Emika’s remix of ‘White Feather’, today Liela Moss shares Johnny Hostile’s brooding and cinematic remix of “The Individual” from the LP. Of the remix Moss says: “The Johnny story is just great. I contacted him because I am a fan of his work with Jehnny Beth but also his various other production work. And he was so swift to reply, so friendly and inspiring to communicate with. And it turns out we’d met years ago and had this sense of communality straight away, stories to swap and stuff we were laughing about on emails immediately. He then spun the track into this sinister gold; I just love the deconstruction that took place and the subtle menace that permeates the track. It is so fitting for the times. I feel so lucky to hear my track through this Johnny Hostile filter. Amazing.”

Other remixes include Berlin’s Future Beat Alliance taking on album opener ‘Turn Your Back Around’ with hypnotic beats, producer Verlos giving ‘Always Sliding’ a minimalist electronic wooze, and Bella Union label mates Penelope Isles throwing lo-fi drums and fuzz at ‘Nummah.’ The Horrors’ Tom Furse takes ‘Battlefield’ into spinning electronic undercurrents, Dhani Harrison throws fuzz and glitch at ‘Suako’, and Moss’s producer Toby Butler rebuilds ‘Watching The Wolf’ with dark menace under his IYEARA moniker. Bella Union’s own Simon Raymonde gives album closer ‘Stolen Careful’ a complete country soul-overhaul, conversely taking the electronic out, and putting the band back in with his Lost Horizons project.

Of the album Liela Moss adds: “The process of connecting with other artists who are my friends, or people whose work I admire, during a time of physical and creative restriction was massively energising, and a privilege that I think could only have happened because of the insane reality that was occurring, that musicians were at home with nowhere to tour.”

Critical acclaim for Who The Power:

Who The Power’s choruses ascend the stratosphere, the percussion booms and melodies have a stadium-friendly reach.” MOJO

“There’s an urgency to these 10 songs, with Moss embracing the 80s goth sounds recently favoured by Sharon Van Etten and Angel Olsen, with propulsive electronic beats underpinning her biting lyrics. It feels like a very contemporary album, succinctly unpicking our shared worries over the state of the world.” Uncut – 7/10

“Her second album’s a cracker. It’s got tunes like gangbusters, it’s got heavy-duty synths, it’s got drama, it’s got thumping great drumbeats… In short, it lives up to it’s title.” Metro

“Turn Your Back Around is a fantastic opener, racing along over firework drums, while album closer Suako is driven by propulsive beats and jittery synths. The new digital backdrop suits a voice that could never be drowned out.” Evening Standard

“The lead singer of The Duke Spirit returns with her second solo album… and what a collection of synth-driven mini-dramas it is.” The Sun – 4 stars ****

“A strong sense of urgency and emotional directness drives the second solo outing from the Duke Spirit frontwoman… A striking blend of self-confidence and impassioned, uncompromising insights.” Daily Mirror 

“The 10 songs here are powerful, moving and lyrically insightful… An accomplished album.” HiFi Choice – 4 stars ****

Liela Moss announces remix album

Following on from her acclaimed second solo album “Who The Power”, released last August, Liela Moss today announces Who The Power (Reformed). Released 26th March via Bella Union, the album is a full remix version of “Who The Power” by some of Liela’s close friends, collaborators, and artists she admires. To mark the announcement Moss has shared two tracks from the album. James Lavelle’s UNKLE place ‘Atoms At Me’ firmly in the club whilst Berlin-based electronic artist Emika takes “White Feather” into a minimalist arena, conjuring up Steve Reich and Max Richter.

Other remixers involved include Jehnny Beth collaborator and producer Johnny Hostile who gives ‘The Individual’ a brooding building cinematic twist while The Horrors’ Tom Furse takes ‘Battlefield’ into spinning electronic undercurrents. Dhani Harrison throws fuzz and glitch at ‘Suako’ and Moss’s producer Toby Butler rebuilds ‘Watching The Wolf’ with dark menace under his IYEARA moniker.  Bella Union’s own Simon Raymonde gives album closer ‘Stolen Careful’ a complete country soul-overhaul, conversely taking the electronic out, and putting the band back in with his Lost Horizons project.

Other remixes include Berlin’s Future Beat Alliance taking on album opener ‘Turn Your Back Around’ with hypnotic beats, producer Verlos giving ‘Always Sliding’ a minimalist electronic wooze, and Bella Union label mates Penelope Isles throwing lo-fi drums and fuzz at ‘Nummah.’

Of the album Liela Moss says: “The process of connecting with other artists who are my friends, or people whose work I admire, during a time of physical and creative restriction was massively energising, and a privilege that I think could only have happened because of the insane reality that was occurring, that musicians were at home with nowhere to tour. With UNKLE, I had been missing their live shows so much and wanted to feel connected to the tribe. Calling James and reminiscing about the last tour we’d done across thousands of miles in Russia, I just wanted him to take my track and alter its personality, reorganise it so it would be a grand, danceable soundtrack to some of his mad live visuals. In the case of Emika, it was she who found me, really. A friend of hers kept encouraging both of us to work together. We had been yearning for the spirit of collaboration to materialise during the pandemic, and we were drawn towards each other’s work to exchange what we had to give. She is classically trained, digitally skilled to the max, insanely talented… I sang on some of her new material and she remixed my track. A total privilege.”

Happy Release Day Liela Moss

Happy release day to Liela Moss who releases her electrifying new LP ‘Who The Power’ today 🙌 Get up and dance to this album of questioning intensity and synth-loaded drama. Listen/order here.

“If you’re going to deconstruct the modern psyche,” says Liela Moss, “you might as well dance to it.” On her second solo album, Who the Power, Moss fulfils that remit with all the power its title calls for. After 2018’s deeply personal My Name Is Safe in Your Mouth – a debut solo album at times serene, at others stormy, on every front sumptuous – Moss entered a period of profound creative and personal self-reflection. When she emerged, she forged an album of questioning intensity and synth-loaded drama, with the expressive force in her voice refuelled by the urgent desire to interrogate the role of selfhood in fraught times. And, crucially, backed by the urgent grooves needed for the job.

As Moss says of her feelings during the build-up to the album: “To make music for the sake can sometimes feel like a narcissistic thing to do, and very reflective of our times. So much of being a musician and live performer is about projecting energy outward, which can be a beautiful and powerful thing. I experienced a good round of that over previous years, and now wanted to explore my fears of tipping the scales the other way: why should I continue to re-enact the narcissistic habits of our generation, desperate for validation, desperate for space, for ‘a platform’?”

With Moss’ new life as a parent at a time of ecological and political upheaval also very much in mind, she entered a period of “hardcore self-enquiry” that included a return to a 10-day stay at a silent Vipassana Meditation centre. Determined to avoid “content for content’s sake”, Moss’ intent was to cleanse her palate and anatomise her motivations to make music. “Fucking about with some demos to justify my existence,” she says, “was not an option.”

Duly, evidence of “fucking about” is notable only by its absence on album opener “Turn Your Back Around”, a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “One filthy, upbeat, downhearted, close-your-eyes-and-dance-by-yourself pop song, offered as a parting gift to Mother Earth.” “Watching the Wolf” is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of “Atoms at Me”, where Moss issues a call to free the senses from the call to consume. 

That sense of freedom further shows in the album’s dynamic focus and passion. The near-ceremonial “Always Sliding” draws power from the idea of impermanence, from the call to “keep searching”. “The Individual” sets a Paradise Lost-ish narrative to a sulphurous bass-line and lunging synths, while the graceful synths and infectious melody of “White Feather” frame lyrics with teeth. “‘White Feather’ is a lament for the earth, sung with fingers crossed behind my back,” explains Moss. “Humanity is losing connection with something vital, and willingly letting itself slip into an abyss. This isn’t as simple as my reaction to the distressing reality of environmental damage; it is my thoughts on our lousy behaviour to one another.” 

Elsewhere, the moody elegance of “Battlefield” and bruised plea of “Nummah” rank among Moss’s finest vocal performances – tall praise. “Suako” offers pulsing synth-rock impetus to risk starting anew, while the blissful “Stolen Careful” ends the album on a palpable note of revitalisation, all risks rewarded as Moss emerges refreshed in her hunger to explore new, meaningful ways to engage with the world.

As with the widely acclaimed My Name Is Safe in Your Mouth, that engagement took place close to home. Working again with partner/producer Toby Butler, Moss wrote and recorded the album in their studio in Somerset, where they live with their child. The difference this time, she explains, was a desire “to create something more urgent”, which captured a sense of renewal while conveying a strong sense of despair at modern culture. “Perhaps that oscillating energy is best expressed musically via machines. We spent much of our time playing with vintage synths and drum machines, building a more visceral palette. I wanted the album to convey a depth of field, to be multi-layered yet feel simple, and to groove.”

Widescreen ambitions fulfilled, the result is another bold leap forwards for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures – with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, as well as serving as muse for fashion icons Alexander McQueen and Phillip Lim, among others.

If My Name Is Safe in Your Mouth offered a haunting snapshot of Moss’ restlessly intuitive instincts, Who the Power repurposes and refuels those instincts, standing as fertile testament to the potential in Moss’ self-possessed yet receptive way of working. As she puts it, “My offering is only mine. It lacks ubiquity. Crucially, it doesn’t seek to rob from others. In actual fact it only has to feed three mouths, under the shelter they need, and provide enough time to nourish their minds so that they can in turn be in the productive service of others. It doesn’t need to win to succeed. Just to be understood for what it is, is enough.” Now that’s a beautiful and powerful thing, indeed.

Liela Moss shares ‘Turn Your Back Around’

With the release of her new solo album Who The Power less than two weeks away on 7th August, and having previously shared the tracks ‘Atoms At Me’ and ‘Watching The Wolf’, Liela Moss has today shared a video for “Turn Your Back Around”, the compelling opening track from the LP. Of the track Moss says: As its almost game over for the planet, I’m enjoying one filthy upbeat downhearted close-your-eyes-and-dance by-yourself pop song and offering it as a parting gift to Mother Earth. It’s a lament, at an urgent bpm.” Watch below to check out some impressive freeform dance-by-yourself moves by Moss.

Who The Power’s choruses ascend the stratosphere, the percussion booms and melodies have a stadium-friendly reach.” MOJO

“There’s an urgency to these 10 songs, with Moss embracing the 80s goth sounds recently favoured by Sharon Van Etten and Angel Olsen, with propulsive electronic beats underpinning her biting lyrics. It feels like a very contemporary album, succinctly unpicking our shared worries over the state of the world.” Uncut

“If you’re going to deconstruct the modern psyche,” says Liela Moss, “you might as well dance to it.” On her second solo album, Who the Power, Moss fulfils that remit with all the power its title calls for. After 2018’s deeply personal My Name Is Safe in Your Mouth – a debut solo album at times serene, at others stormy, on every front sumptuous – Moss entered a period of profound creative and personal self-reflection. When she emerged, she forged an album of questioning intensity and synth-loaded drama, with the expressive force in her voice refuelled by the urgent desire to interrogate the role of selfhood in fraught times. And, crucially, backed by the urgent grooves needed for the job.

As Moss says of her feelings during the build-up to the album: “To make music for the sake can sometimes feel like a narcissistic thing to do, and very reflective of our times. So much of being a musician and live performer is about projecting energy outward, which can be a beautiful and powerful thing. I experienced a good round of that over previous years, and now wanted to explore my fears of tipping the scales the other way: why should I continue to re-enact the narcissistic habits of our generation, desperate for validation, desperate for space, for ‘a platform’?” 

With Moss’ new life as a parent at a time of ecological and political upheaval also very much in mind, she entered a period of “hardcore self-enquiry” that included a return to a 10-day stay at a silent Vipassana Meditation centre. Determined to avoid “content for content’s sake”, Moss’ intent was to cleanse her palate and anatomise her motivations to make music. “Fucking about with some demos to justify my existence,” she says, “was not an option.”

Duly, evidence of “fucking about” is notable only by its absence on album opener “Turn Your Back Around”, a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “One filthy, upbeat, downhearted, close-your-eyes-and-dance-by-yourself pop song, offered as a parting gift to Mother Earth.” “Watching the Wolf” is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of “Atoms at Me”, where Moss issues a call to free the senses from the call to consume. 

That sense of freedom further shows in the album’s dynamic focus and passion. The near-ceremonial “Always Sliding” draws power from the idea of impermanence, from the call to “keep searching”. “The Individual” sets a Paradise Lost-ish narrative to a sulphurous bass-line and lunging synths, while the graceful synths and infectious melody of “White Feather” frame lyrics with teeth. “‘White Feather’ is a lament for the earth, sung with fingers crossed behind my back,” explains Moss. “Humanity is losing connection with something vital, and willingly letting itself slip into an abyss. This isn’t as simple as my reaction to the distressing reality of environmental damage; it is my thoughts on our lousy behaviour to one another.” 

Elsewhere, the moody elegance of “Battlefield” and bruised plea of “Nummah” rank among Moss’s finest vocal performances – tall praise. “Suako” offers pulsing synth-rock impetus to risk starting anew, while the blissful “Stolen Careful” ends the album on a palpable note of revitalisation, all risks rewarded as Moss emerges refreshed in her hunger to explore new, meaningful ways to engage with the world.

As with the widely acclaimed My Name Is Safe in Your Mouth, that engagement took place close to home. Working again with partner/producer Toby Butler, Moss wrote and recorded the album in their studio in Somerset, where they live with their child. The difference this time, she explains, was a desire “to create something more urgent”, which captured a sense of renewal while conveying a strong sense of despair at modern culture. “Perhaps that oscillating energy is best expressed musically via machines. We spent much of our time playing with vintage synths and drum machines, building a more visceral palette. I wanted the album to convey a depth of field, to be multi-layered yet feel simple, and to groove.”

Widescreen ambitions fulfilled, the result is another bold leap forwards for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures – with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, as well as serving as muse for fashion icons Alexander McQueen and Phillip Lim, among others.

If My Name Is Safe in Your Mouth offered a haunting snapshot of Moss’ restlessly intuitive instincts, Who the Power repurposes and refuels those instincts, standing as fertile testament to the potential in Moss’ self-possessed yet receptive way of working. As she puts it, “My offering is only mine. It lacks ubiquity. Crucially, it doesn’t seek to rob from others. In actual fact it only has to feed three mouths, under the shelter they need, and provide enough time to nourish their minds so that they can in turn be in the productive service of others. It doesn’t need to win to succeed. Just to be understood for what it is, is enough.” Now that’s a beautiful and powerful thing, indeed. 

Liela Moss shares ‘Watching The Wolf’

Having last month announced news of her new solo album, Who The Power, released 7th August via Bella Union, and shared a video to first single ‘Atoms At Me’, Liela Moss today releases another new track, “Watching The Wolf”, one of the many standouts from the LP, accompanied by a lyric video. Of the track Moss says: “An imagined rebellion created by packs of wolves, who mete out justice when they lure a power-hungry narcissistic wannabe politician to his demise. A modern day folk tale whose villain is a fraud. Useless in the face of an emergency (“now comes the hour, when you’re not gonna know what to do”) and utterly inane, he has no idea he is despised by so many, including the animal kingdom.”

“If you’re going to deconstruct the modern psyche,” says Liela Moss, “you might as well dance to it.” On her second solo album, Who the Power, Moss fulfils that remit with all the power its title calls for. After 2018’s deeply personal My Name Is Safe in Your Mouth – a debut solo album at times serene, at others stormy, on every front sumptuous – Moss entered a period of profound creative and personal self-reflection. When she emerged, she forged an album of questioning intensity and synth-loaded drama, with the expressive force in her voice refuelled by the urgent desire to interrogate the role of selfhood in fraught times. And, crucially, backed by the urgent grooves needed for the job.

As Moss says of her feelings during the build-up to the album: “To make music for the sake can sometimes feel like a narcissistic thing to do, and very reflective of our times. So much of being a musician and live performer is about projecting energy outward, which can be a beautiful and powerful thing. I experienced a good round of that over previous years, and now wanted to explore my fears of tipping the scales the other way: why should I continue to re-enact the narcissistic habits of our generation, desperate for validation, desperate for space, for ‘a platform’?” 

With Moss’ new life as a parent at a time of ecological and political upheaval also very much in mind, she entered a period of “hardcore self-enquiry” that included a return to a 10-day stay at a silent Vipassana Meditation centre. Determined to avoid “content for content’s sake”, Moss’ intent was to cleanse her palate and anatomise her motivations to make music. “Fucking about with some demos to justify my existence,” she says, “was not an option.”

Duly, evidence of “fucking about” is notable only by its absence on album opener “Turn Your Back Around”, a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “One filthy, upbeat, downhearted, close-your-eyes-and-dance-by-yourself pop song, offered as a parting gift to Mother Earth.” “Watching the Wolf” is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of “Atoms at Me”, where Moss issues a call to free the senses from the call to consume. 

That sense of freedom further shows in the album’s dynamic focus and passion. The near-ceremonial “Always Sliding” draws power from the idea of impermanence, from the call to “keep searching”. “The Individual” sets a Paradise Lost-ish narrative to a sulphurous bass-line and lunging synths, while the graceful synths and infectious melody of “White Feather” frame lyrics with teeth. “‘White Feather’ is a lament for the earth, sung with fingers crossed behind my back,” explains Moss. “Humanity is losing connection with something vital, and willingly letting itself slip into an abyss. This isn’t as simple as my reaction to the distressing reality of environmental damage; it is my thoughts on our lousy behaviour to one another.” 

Elsewhere, the moody elegance of “Battlefield” and bruised plea of “Nummah” rank among Moss’s finest vocal performances – tall praise. “Suako” offers pulsing synth-rock impetus to risk starting anew, while the blissful “Stolen Careful” ends the album on a palpable note of revitalisation, all risks rewarded as Moss emerges refreshed in her hunger to explore new, meaningful ways to engage with the world.

As with the widely acclaimed My Name Is Safe in Your Mouth, that engagement took place close to home. Working again with partner/producer Toby Butler, Moss wrote and recorded the album in their studio in Somerset, where they live with their child. The difference this time, she explains, was a desire “to create something more urgent”, which captured a sense of renewal while conveying a strong sense of despair at modern culture. “Perhaps that oscillating energy is best expressed musically via machines. We spent much of our time playing with vintage synths and drum machines, building a more visceral palette. I wanted the album to convey a depth of field, to be multi-layered yet feel simple, and to groove.”

Widescreen ambitions fulfilled, the result is another bold leap forwards for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures – with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, as well as serving as muse for fashion icons Alexander McQueen and Phillip Lim, among others.

If My Name Is Safe in Your Mouth offered a haunting snapshot of Moss’ restlessly intuitive instincts, Who the Power repurposes and refuels those instincts, standing as fertile testament to the potential in Moss’ self-possessed yet receptive way of working. As she puts it, “My offering is only mine. It lacks ubiquity. Crucially, it doesn’t seek to rob from others. In actual fact it only has to feed three mouths, under the shelter they need, and provide enough time to nourish their minds so that they can in turn be in the productive service of others. It doesn’t need to win to succeed. Just to be understood for what it is, is enough.” Now that’s a beautiful and powerful thing, indeed.

Liela Moss announces ‘Who The Power’

Liela Moss has announced news of her new solo album Who The Power, released 7th August via Bella Union and available to pre-order here. To mark the occasion Moss has shared a video for lead track “Atoms At Me”, directed and filmed by her neighbour, and IYEARA singer, Paul O’Keeffe. Of the video Moss says: “I am dancing with the walls and grooving in the recesses. Preparing – but hesitating – to reveal more of myself. The visual quality softly distorts and abstracts me, hinting at the way we keep old emotional patterns at bay; a bit too afraid to bring them to surface, to witness your needs and fears with clarity.”

“If you’re going to deconstruct the modern psyche,” says Liela Moss, “you might as well dance to it.” On her second solo album, Who the Power, Moss fulfils that remit with all the power its title calls for. After 2018’s deeply personal My Name Is Safe in Your Mouth – a debut solo album at times serene, at others stormy, on every front sumptuous – Moss entered a period of profound creative and personal self-reflection. When she emerged, she forged an album of questioning intensity and synth-loaded drama, with the expressive force in her voice refuelled by the urgent desire to interrogate the role of selfhood in fraught times. And, crucially, backed by the urgent grooves needed for the job.

As Moss says of her feelings during the build-up to the album: “To make music for the sake can sometimes feel like a narcissistic thing to do, and very reflective of our times. So much of being a musician and live performer is about projecting energy outward, which can be a beautiful and powerful thing. I experienced a good round of that over previous years, and now wanted to explore my fears of tipping the scales the other way: why should I continue to re-enact the narcissistic habits of our generation, desperate for validation, desperate for space, for ‘a platform’?”

With Moss’ new life as a parent at a time of ecological and political upheaval also very much in mind, she entered a period of “hardcore self-enquiry” that included a return to a 10-day stay at a silent Vipassana Meditation centre. Determined to avoid “content for content’s sake”, Moss’ intent was to cleanse her palate and anatomise her motivations to make music. “Fucking about with some demos to justify my existence,” she says, “was not an option.”

Duly, evidence of “fucking about” is notable only by its absence on album opener “Turn Your Back Around”, a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “One filthy, upbeat, downhearted, close-your-eyes-and-dance-by-yourself pop song, offered as a parting gift to Mother Earth.” “Watching the Wolf” is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of “Atoms at Me”, where Moss issues a call to free the senses from the call to consume. 

That sense of freedom further shows in the album’s dynamic focus and passion. The near-ceremonial “Always Sliding” draws power from the idea of impermanence, from the call to “keep searching”. “The Individual” sets a Paradise Lost-ish narrative to a sulphurous bass-line and lunging synths, while the graceful synths and infectious melody of “White Feather” frame lyrics with teeth. “‘White Feather’ is a lament for the earth, sung with fingers crossed behind my back,” explains Moss. “Humanity is losing connection with something vital, and willingly letting itself slip into an abyss. This isn’t as simple as my reaction to the distressing reality of environmental damage; it is my thoughts on our lousy behaviour to one another.” 

Elsewhere, the moody elegance of “Battlefield” and bruised plea of “Nummah” rank among Moss’s finest vocal performances – tall praise. “Suako” offers pulsing synth-rock impetus to risk starting anew, while the blissful “Stolen Careful” ends the album on a palpable note of revitalisation, all risks rewarded as Moss emerges refreshed in her hunger to explore new, meaningful ways to engage with the world.

As with the widely acclaimed My Name Is Safe in Your Mouth, that engagement took place close to home. Working again with partner/producer Toby Butler, Moss wrote and recorded the album in their studio in Somerset, where they live with their child. The difference this time, she explains, was a desire “to create something more urgent”, which captured a sense of renewal while conveying a strong sense of despair at modern culture. “Perhaps that oscillating energy is best expressed musically via machines. We spent much of our time playing with vintage synths and drum machines, building a more visceral palette. I wanted the album to convey a depth of field, to be multi-layered yet feel simple, and to groove.”

Widescreen ambitions fulfilled, the result is another bold leap forwards for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures – with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, as well as serving as muse for fashion icons Alexander McQueen and Phillip Lim, among others.

If My Name Is Safe in Your Mouth offered a haunting snapshot of Moss’ restlessly intuitive instincts, Who the Power repurposes and refuels those instincts, standing as fertile testament to the potential in Moss’ self-possessed yet receptive way of working. As she puts it, “My offering is only mine. It lacks ubiquity. Crucially, it doesn’t seek to rob from others. In actual fact it only has to feed three mouths, under the shelter they need, and provide enough time to nourish their minds so that they can in turn be in the productive service of others. It doesn’t need to win to succeed. Just to be understood for what it is, is enough.” Now that’s a beautiful and powerful thing, indeed.