Often, acts that are thrown into the blinding spotlight of mainstream music media are hit with immense pressure to constantly level up and experiment without veering too far from their original sound. But as reality stands, you can’t please everyone.
TLDP have decided to continue treading their own path and build the Pyre of their next chapter, with their new track ‘Second Best’ being the next piece of kindling on its roaring fire.
Following the releases of ‘This Is The Killer Speaking’ and ‘The Scythe’, came the third single ‘Second Best’, which tells a cautionary tale of leaving a one-sided relationship, and bathing in the intoxicatingly bitter dynamic of being second best to someone- composed with a defiant, ironic tone and rich instrumental quality. The order of these three songs within the album, compared to the order of release, also adds an interesting layer of context to the narrative to ponder on whilst listening. This order tells a reversed narrative development with their latest single feeling like the point at which our protagonist is amidst the throes of this relationship, as they transition in ‘This Is the Killer Speaking’ to an anger in this toxic dynamic, to ‘The Scythe’ where it seems they can already see what is forthcoming, and plead to be set free.
The fluctuating pace, alongside the changes in Abigail Morris’ vocal style, perfectly accentuate and direct the narrative of this track. The angelic, stripped back introduction bathes us in denial and adorns us with a pair of gold-tinted glasses, to soften the verse and chorus’ painful truth. It is delicately sprinkled with breathy repeated phrases like “Take me back”, surrounded by upbeat piano notes to accompany the theme of longing. To juxtapose this, the chorus smacks us with a team of kick beats and plucked guitar lines, back into reality between Morris’ resentful words, “Ain’t it nice? Second best”. However, the feathery light bridge and rich pre-chorus slip us back into these moments of weakness where their narrator dances with the temptation to go back while questionin,g “What do I do to be better for you?”.
Another notable instrumental aspect of this song is that every key instrument has its own moment to shine within the song. A highlight is the bass’ stunning showcase in the bridge, carrying heaps of emotion to enhance the struggle described in the lyrics and becoming a prominent part of the song’s structure, rather than a harmonic foundation. The struggle is further magnified in the outro, through the finer details of Morris’ fluttering vocal dictation, where she chooses not to fully enunciate the end of certain words, like in the lines “By the hand, by the hair/ I don’t care anymore”. This is subtle but very impactful to the rhythm of each line, causing them to bleed into one another, and as a result, creating an enjambment-like effect that further exaggerates the chaotic mindset of the narrator, as they run back and forth between resentment and yearning.
‘Second Best’ encapsulates the way that TLDP are taking their alluring Post-Renaissance inspired vision, and re-stitching it in with an even more refined sound that doesn’t sacrifice their authenticity. This song is woven with dynamic tone, ornate polyphonic textures, and really captures the power of being reflective on your past misfortunes with empathy for yourself. This is the power of good music-it beckons you to braid your personal experiences into their woven lyrical sonnets and softly unravel them between listens. It develops with you; you can take it all in when you need it and set it aside when you don't, but you know it is always there waiting for you. Allowing you to feel a glimpse into the artist’s world and a reflection of your own, in a rich tone of musical whimsicality.
This world that they have been the composer of has wonderfully evolved within this song, and it will be interesting to experience the rest of this chapter when the full album ‘From The Pyre’ is released for our ears to dote on October 17th.
Amy Shephard
Image: Laura Marie Cieplik
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