"pairing it with an '80s-inspired synth-pop palette. The album's closing track, power ballad "Appetite," is even an ode to desire itself: "I'm chewing you up, chewing you up," she chants on the rousing coda, refusing to apologize for going after what she wants. It recalls the delicious sensory abundance of a Mary Oliver poem: "there is no end/...to the happiness your body/is willing to bear.""
"for their third record, 2022's Two Ribbons, the duo explored grief and the tension in their own relationship over more conventional song structures. Hollingworth's solo record comes after several personally difficult years, including losing her boyfriend to a rare form of bone cancer in 2019. Eventually, as Hollingworth explained to the Independent, she felt ready to "have more fun making music again," rather than try "to sum up really traumatic parts of my life.""
"With Quicksand Heart, she continues on the path she and Walton set on Two Ribbons, leaving behind the band's more experimental elements and favoring the power of a 4/4 pop song. She infuses her solo debut with nostalgia-beginning with the album's cover, which shows Hollingworth adorned in her mother's wedding dress, an ecstatic scream reshaping her face. Channelling the '80s via Kate Bush and Cyndi Lauper, Hollingworth revels in rollicking choruses fit for shoulder pads."
Jenny Hollingworth's Quicksand Heart embraces hunger for life with '80s-inspired synth-pop, rollicking choruses, and nostalgic production. The album closes with the power ballad 'Appetite,' which chants 'I'm chewing you up, chewing you up,' and celebrates desire without apology. Hollingworth moved away from more experimental textures toward conventional 4/4 pop songcraft, continuing the trajectory from Two Ribbons. The solo record follows years of personal difficulty, including the 2019 loss of her boyfriend to rare bone cancer, after which she sought to have more fun making music. The album cover features Hollingworth in her mother's wedding dress, an ecstatic scream reshaping her face.
Read at Pitchfork
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