10. ‘Something Old’

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‘Something Old’ is perhaps the best instance of Wilde’s masterful handling of glitchy electronics, including a divinely warped loop in lieu of a traditional solo

9. ‘Marleah’s Cadence’

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The simple, driving drum beat of ‘Marleah’s Cadence’ gives freedom for the varied, fuzzy layers of guitar that are the hallmark of Wilde’s more upbeat tracks. 

8. ‘Pinch’

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While clearly a talented producer, ‘Pinch’ showcases Wilde’s ability to write beautifully fragile folk songs when everything else is stripped away, and features a simply gorgeous slide guitar line.

7. ‘Twin’

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Acoustic and electric guitars work in tandem on ‘Twin’, providing a simple depth that allows the vocal melodies to carry the song; check the wonderful descending vocal and guitar line that ends the chorus.

6. ‘On This Morning’

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There was a certain inevitability to the addition of strings to Wilde’s music; what was less certain was how competently he would immediately employ them. ‘On This Morning’ leaves little doubt in our minds anymore.

5. ‘Plume’

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‘Plume’ is a perfect case of Wilde’s ability to create a delicate atmosphere that is surprisingly dense at the same time; strings, electronic beeps and samples, woozy guitar and even a banjo adorn a soft, effected vocal performance. 

4. ‘Smiler’

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Pieced together almost entirely of looping samples, ‘Smiler’ stands out within Wilde’s canon. However, the clearly well-constructed arrangement and bitcrush-style drums manage to craft a song out of seemingly nothing.

3. ‘Night in Time Lapse (Somewhere Safe)’

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If there was any doubt about Wilde’s ability to write a simple pop song, ‘Night in Time Lapse (Somewhere Safe)’ should end any speculation, with a bouncy bass synth wobbling throughout and a catchy guitar lead.

2. ‘Echolalia’

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‘Echolalia’ sees Wilde introduce huge waves of electro-shoegazey noise intertwining with soaring strings, building in repeated crescendos through the first half of the track; a remarkable example of his arranging talents.

1.‘Blit Scratch’

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Featuring a deeply groovy and percussive chorus, ‘Blit Scratch’ – a rare example of collaboration, with contributions from E B U, Tara Clerkin, Silver Waves and MXLX – is again an exhibition in the shiningly unique brand of glitchy, opioid-induced pop that Wilde seems to be so at ease with; at once toe-tappingly accessible, yet subversive and noisy in equal measure.

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