11 Songs, 44 Minutes

EDITORS’ NOTES

London-based composer Anna Meredith loves a corkscrew spiral, a manic grid, and key changes that lurch between nausea and pleasure. Few songs on her second album, Fibs, end where they start—“Sawbones” traverses precipitous bass, chiptune reverie, and a symphony in hyperdrive—yet her classical grounding ensures a keen eye on the dynamic sweep. An opening half of screaming crescendos (“Calion”) and regal pomp (“Killjoy”) begets a reprieve of power pop (“Limpet”) and girlish dreaminess (“Ribbons”)—only to end with a bang with “Paramour,” a song that makes “Sawbones” sound like Debussy’s “Clair de Lune.”

EDITORS’ NOTES

London-based composer Anna Meredith loves a corkscrew spiral, a manic grid, and key changes that lurch between nausea and pleasure. Few songs on her second album, Fibs, end where they start—“Sawbones” traverses precipitous bass, chiptune reverie, and a symphony in hyperdrive—yet her classical grounding ensures a keen eye on the dynamic sweep. An opening half of screaming crescendos (“Calion”) and regal pomp (“Killjoy”) begets a reprieve of power pop (“Limpet”) and girlish dreaminess (“Ribbons”)—only to end with a bang with “Paramour,” a song that makes “Sawbones” sound like Debussy’s “Clair de Lune.”

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