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“Deltaskelta” revives the digitally haunted “Aidy’s Girl” aesthetic with modem-like twinkles, illegible lyrics, and a sweet melody rendered with the effect of an extraterrestrial transmission. There’s a sense of distant, benevolent forces at work on the pair of remaining tracks. Gaika has less to play with, but complicates “Black Ghost”’s sparse, grime-textured production with a serenely stuttered elegy: “I sing for the black ghosts/I sing for all that we lost.”
On “Reformer,” guest vocalist Empress Of is a more natural fit, light-as-air and acrobatic enough to swirl above the smoky, claustrophobic synths. While the duo always had the chops for poignant songs-after “Aidy’s Girl Is a Computer,” they scrapped a vaguely commercial debut to burrow into the impenetrable North-their vocally despondent music since hasn’t quite replaced that single’s computer-human discord with a compelling synergy of the two. Made to Measure was written well before Brexit, but its austere, dystopian murk reflects the extinguished hope that’s characterized recent weeks here: deflated, anxious, uncertain. That was before Britain waved goodbye to the European Union, of course, and now, it’s all too easy to conceive of things getting worse. As reality dawned, the outpourings of leftwing dismay were, if nothing else, inspiriting communal moments in isolated times. In hindsight, it’s possible to see how political LPs like Foam Island and Jam City’s Dream a Garden (a companion piece, of sorts) were energized by the prospect of Tory re-election.
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