Deptford Goth’s debut album finally arrives, and for those familiar with his engrossing musical output to date, it’s been a long time coming. The mysterious cover art is the door into engrossing sounds within. An illustrated first-person viewpoint of a pair of hands with subtle disfigurements, it nods strongly to Carlos Castaneda’s 20th Century advice on how to reality-check when lucid dreaming (your hands are never the same in these otherworldly situations).
The album is a natural progression from Deptford Goth’s 2011 debut EP ‘Youth II’. On that, lived four tracks of an incredible singer songwriter, but not necessarily a producer. Now with his debut, we hear the complete artist, inwardly analysing his soul through melancholic synth-pop and codeine soaked R&B. At the heart of it all our gifted lyricist churns out poetic verse; dark and magnificent on ‘Objects Objects’, religious and earthly on ‘Union’.
From a technical perspective, ‘Life After Defo’ also heralds the further ascendancy of mind-blowing producer Rodaidh McDonald. Responsible for knob twiddling on The xx’s multi-platinum debut, McDonald has become the sixth degree for many of 2013’s most anticipated albums, of which Deptford Goth is the first, and King Krule and Savages are the next.
With powerful juxtapositions of connection and disconnection, hope and despair, life and death, possession and loss throughout, ‘Life After Defo’ is an absolute thesis on pop experimentalism.
Words by JOE ZADEH