2012’s sophomore Tender New Sings saw heavily-tipped New Zealand shoegaze artist Tamaryn live up to her billing in emphatic form. A muggy, blissful, headphone-friendly listen, it was a one of the revelations of the year. After a considerable break, Crane Kiss now sees her gleefully discard the formula which made her name, embarking on a new, pop-oriented route; one which is more Sia in its roots than Slowdive. Songs like Sugar Fix – as addictive as its title – clash sharply with the sombre tones which marked her previous works.

Such was Tamaryn’s burgeoning reputation, this confident expansion in sound, attitude and aesthetic has to be seen as admirable; brave, even. The subtle, watercolour washes of guitar have been substituted for a thinner, more digitally-inclined sound. And while there’s undoubtedly a degree of surface-level satisfaction to be found here, on repeated listens, the layers of texture that used to emerge during dusky listens are found sadly absent. Crane Kiss is an enjoyable, well-written pop album – it’s just difficult not to pine for those darker, more delicate depths.

Billie Monnier-Stokes