Secret Measure

In the best possible way, Cloths self-titled debut album and Low Sun EP sounded like they were made by only two people. The tightly woven interplay of twin siblings Paul and Rachael Swinton created a small but evocatively detailed world of whispery vocals, lingering melodies, and pauses that were just as charged as the music itself. On Secret Measure, Cloth loosen the grip on their restraint, working with producer Ali Chant to take their music on bigger adventures. The changes they make are small -- they havent cranked up the volume or buffed everything to a high shine -- but theyre significant. Though Rachael Swintons voice still barely rises above a breathy murmur, now it has enough presence to swallow listeners whole. Instead of one or two instruments playing at the same time, now there might be three or four. Each one lends a surprising new color, whether its the flutey synths and hand drums that grace "Ambulance" or the steel guitar and booming kick drums that counterbalance the bands signature guitar harmonics elegantly on "Another." Like Low Sun, Secret Measure provides plenty of hints as to why Cloth are on Mogwais Rock Action label. Distorted bass glowers in the background like embers on the title track, adding heft as well as a greater sense of tension of release; on "Pigeon," the clouds of synths and Swintons harmonies resemble minimalist shoegaze; and "Ladder"s sudden dynamic shifts would do their labelmates proud. Though Secret Measure is Cloths most elaborate-sounding music to date, the duo leave enough room to keenly chronicle the little moments that can break a heart or change a life. The Cloth song "Old Bear" appeared in the TV adaptation of Sally Rooneys novel Normal People, and a similar feeling of exquisite torture drives "Never Know," a gently devastating standout that feels like a classic unrequited love song in the making. Cloth imbues a happier moment with just as much drama on "Lido," creating an us-against-the-world mood with its slow-building momentum and regal trumpet solo, but its most alluring when Swinton sings "Nothings so wrong/We cant fix it." This oddly comforting streak is one of Secret Measures most appealing qualities, giving a shy reassurance to "Drips"s warm synth pop and the dubby, softly glowing "Money Plant." (It also makes it easier for Cloth to tear their audiences heart out with the haunting finale "Blue Space.") Cloths previous releases may have been almost too subtle for their own good, but Secret Measure is an impressive, moving leap forward that fully reveals their musics power and potential. ~ Heather Phares