![]() It's one of several songs on the album where lyrics inspect the tenuous relationship between technology and humanity, and perhaps the best expression of a strange foreboding feeling that lingers throughout Mogic. New member Sally Pinklington shines on standout track "Sky Burial," her vocals gliding over relaxed verses until the song blooms into melancholic vocodered choruses. Elements of the band's ugly noise are woven into more traditional pop songs, as with the threads of demonic synth dissonance on "First Date," the electro sound collage freakout "Transport & Travel," and the wild-eyed rhythmic rattle of "Welcome to Hell." If this is pop music, it's pop approaching its most demented. Mogic, while less untethered and formless, retains the curiosity, playful electronic weirdness, and woodland mysticism that Hen Ogledd displayed in their wild improvisations, and simply translates them into a different iteration. This evolution is by no means disappointing, nor does it point toward a hungry bid for more listeners by entering the arena of mainstream pop. These noisy beginnings couldn't prepare even the most unshakable listeners for third album Mogic, which takes a turn toward pop so sharply that the band is all but unrecognizable from its earlier forms. They played seldomly, but released records almost as often as they had gigs, second album Bronze consisting of recordings of their second-ever gig and first time playing with third member Dawn Bothwell. Hen Ogledd began as a noisy duo between guitarist and sometimes avant folksinger Richard Dawson and extended-technique harpist Rhodri Davies.
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