By Arielle Lessard
Building on the wandering first album Gold Recordings, Cult Following expands on a theme a self-exploration by using an eclectic orchestra with an assortment of collaborators. Among them are the likes of Mary Margaret O’Hara, Sufjan Stevens, Sharon Van Etten, Aaron and Bryce Dessner (of The National, who also worked on her first album), Owen Pallett, Kyp Malone and finally, Little Scream’s long time producer Richard Reed Parry.
Rather than changing tones suddenly, songs lead into one another so seamlessly you may miss the title change. The album, perhaps slightly more cohesive than the last, breathes a slowly evolving air. What starts off as a dandy Scissor Sisters-like album with “Love as a Weapon,” quickly becomes a speculative art-pop breakdown of relationships and sentiment with swelling instrumentation.
Comparisons to St. Vincent and Hundred Waters are not quite right but true of Little Screams’ use of discordant guitar ornamentation, layers and lively vocals. On the whole, however, this is a different project that follows the impulse to capture larger-than-life emotive magic that slips from state to state.Cult Following, Little Scream