Bridging together majestic and evocative poetry with a more experimental form of indie folk, Jen Lush and her large accompanying band have penned together eleven songs that move the listener into the experiences of motherhood and suburban life while simultaneously taking a birds eye view and perspective into the society and times we find ourselves in. In that way, it manages to remain grounded while also keeping a broader and more larger landscape in its purview. The songs are subtle, with Jen’s poignant lyricism and deft delivery bringing to life vivid imagery through sound. The faint acoustic strumming on ‘The Seagull’ coupled with the more experimental, almost industrial foreground makes for an intriguing piece of folk style that I haven’t heard replicated elsewhere.
The quaintness of songs like ‘Gold Thread’, with their deeply emotive and evocative string work on ‘Gold Thread’ that spin together and interweave indie folk sparks with a keenly well put together acoustic string work is a more pleasant and campfire sounding piece of folk that’s very similar with traditional roots in the genre. On ‘The Valley’, a more sombre ballad, Lush uses far more in her arrangement. Utilising the full gambit of the band’s arrangement and instrumental prowess, the tune builds with intention from start to finish. As it hits the piece’s midsection, it hits high points that leave you in a state of complete euphoria and utter bliss. ‘Black Hammer’ has a much more pointed rock feeling, bringing the electric guitar front and centre. The chorus is more determined and powerful, with Lush’s falsetto hammering down the anthem.
Bringing a degree of innovation and imagination to traditional folk song writing allows ‘Let Loose The Beating Birds’ to be a fantastic piece of folk with a maturity and grandiosity far beyond the realms that the genre normally allows for.