I love the happenstance of musical discovery. I had just finished listening to an album I was reviewing when a track by Matilda began to play, and I was captivated within the opening seconds. Clicking on her name led me to only that one song, so I searched further and discovered this, her latest release. Once again, as soon as the first track opened, I knew I had to review it.

Opening with "At The End of the Day", I was immediately captivated by Matilda's voice, intimate and emotive, and dare I say edging toward the sultry. It is a track that embraces you in a warm hug, and sometimes there is no greater place to be.

"Say It Back" shifts the mood, bringing an infectious energy that propels the song forward at a brisk pace. The vocals remain expressive, particularly in the verses, but take on a more relaxed feel in the chorus.

Three tracks in, "Dazed & Confused" takes the album in a different direction. It’s certainly a record that keeps you on your toes, yet everything comes together seamlessly through Matilda's voice. Sing me a phonebook, sing me a menu—just sing.

I have to admit, "Tell Me That I'm Wrong" feels like the territory where Matilda really finds her soapbox. There’s a confidence and clarity to her delivery that makes the song feel purposeful without ever losing its charm. Much like the opening track, it carries that intangible vibe that works so effortlessly, drawing you in and making you want to listen again.

"See You Later" brought to mind a hint of The Cure, particularly in the guitar work that underpins the track. There’s a moody, melodic quality that feels reminiscent of their style. I could easily imagine Robert Smith’s voice taking Matilda’s place, well, perhaps if the tempo were just a touch slower, but it’s Matilda’s delivery that gives the song its unique character, balancing the familiar influences with her own distinct presence.

Another subdued entry, "Worst Person Alive" leans into acoustic territory, opening with a guitar riff that immediately drew me in. The vocals are more melancholic here, shaped by both the tone and the lyrics. While acoustic at its core, the track is enhanced by subtle production elements, especially the strings that beautifully support the emotional depth.

Opening with sweeping strings, "Just Because" has a distinctly contemporary feel. It may sound like faint praise, but I can easily imagine this track being used in a TV show, whether to underscore a moment of drama or signal resolution, depending on which sections of the song are highlighted.

Track 8, "Only So Far Away," is a brief but beautiful interlude, featuring exquisite lead and backing vocals. I would have loved to see it expanded into a full track, perhaps as the closing song—it would serve as a perfect flourish to an already remarkable album.

Something a little different with "Meet Cute" which is very much a track where the drum dictates how it will unfold, along with the very subtle use of bass. There's very much a sense of the eclectic in this album, but not wildly so, just enough to prevent things becoming stale, especially important on an album with 14 tracks.

Maybe I’m somewhat old-fashioned, but when a track opens with an acoustic guitar, I can’t help but feel a sense of anticipation for what’s to come. "Everything I’m Not" delivers on that promise, weaving a melody that's both intimate and thoughtful. Sometimes the simplest arrangements speak the loudest, or at least that’s my unapologetic take.

I love it when a track presents a little conundrum on first listen, and here it was the instrument that introduces the song. I replayed the opening segment half a dozen times, and my best guess is a dulcimer, or perhaps some kind of keyboard equivalent. This is the song that resonated with me the most. The vocals are perfect, as is the accompaniment, with the strings providing a particularly elegant touch.

There are quite a few radio-friendly tracks on the album, and "Autopilot" is certainly among them. It carries a strong, immediate energy that’s hard to ignore, the kind that sneaks up on you until you realise your foot is tapping along without conscious thought. It’s an effortlessly catchy moment that adds to the album’s broad appeal without feeling forced.

Penultimate track time with "All That Was Said", a beautiful, simple melody, with complimentary musical accompaniment, which gives balance, without detracting from the vocals. A soft and wonderfully beautiful song.

Closing out the album is "Girls". Were it not for the spoken count-in, I might have suggested swapping it with the preceding track. That count-in, however, lends a sense of finality, making its placement feel entirely appropriate. It’s another gently delightful, largely acoustic piece, and it serves as a fitting and satisfying conclusion for the album, especially with the final close out. I won't spoil the surprise.

Taken as a whole, this album feels like a deeply assured statement, one that balances intimacy, variety, and cohesion with remarkable ease. There is a clear sense of range across the fourteen tracks, yet Matilda’s voice remains the constant thread, grounding everything and giving the record its identity. Whether leaning into acoustic vulnerability, gentle experimentation, or moments of radio-ready immediacy, the songs never feel forced or overworked. What began as a chance discovery quickly revealed itself as an album of depth and quiet confidence, and one that lingers long after it's finished.