Memphis Industries
Rozi Plain returns with Prize, her first album since 2019’s What a Boost, which was a floating, dreamy piece of alternative folk with a dollop of jazz thrown in. Plain has come a long way since her DIY beginnings in Bristol, where she would often record songs in people’s houses, her brother mixing her tracks in his bedroom.
Prize sees Plain bring along quite the ensemble; renowned saxophonist Alabaster Deplume makes an appearance, as does harpist Serafina Steer, The Comet is Coming’s Dan Leavers provides his expertise, manipulating the synths, while the whole thing is co-produced by her This Is The Kit bandmate, the drummer Jamie Whitby Coles.
The result is a beautifully textured affair, a wonderful dream-like journey through sound; it’s immersive but not suffocating, a gentle cuddle rather than a bear hug. It’s an expansive affair but isn’t overpowering; instruments share the spotlight, the musical limelight is passed around like a torch. Plain’s lyrics take the shape of mirage-like poetry, a jigsaw of edges. On ‘Spot Thirteen’, she sings, “Someone said this/keep them nameless”, an example of the ambiguity Plain employs throughout the record. Meanings are elusive; she deals in abstracts, not absolutes.
The opener, ‘Agreeing For Two’, starts as a minimalist, acoustic affair, Plain cryptically asking, “What should we call it/If nothing will do?” before its chorus gently soars, with its pulsing synths and DePlume’s saxophone lurking in the background. ‘Complicated’ is a shimmering dream-like affair, with its twinkling keys, gentle harmonies, and the rippling of steel drums while the synths vibrate as if they’re rippling on water. ‘Help’ is a fantastic, intimate affair, Plain’s mysterious lyrics dancing around you. Musically it’s equally as puzzling, DePlume’s saxophone masquerading as strings while the guitars create an accordion-like sound, all intricately woven together.
‘Prove Your Good’ is a spacious affair, with its gently pattering drums and gently plucked guitar notes giving way to a floating chorus. It’s a song about internal conflict, yet the music has a light, soothing rhythm. ‘Conversation’ is a delicate, harmonious effort that feels as if it’s serenely gliding across the water. ‘Painted Room’ is woozy, with its quietly shuffling drums and distorted wobble. ‘Sore’ has a slightly eerie feel, enhanced by Plain repeating “Where are you then?” throughout. The gently drifting strings clash with the wobbly synths, while DePlume brings a touch of melancholia with his sax, as you feel Plain is searching for something she has lost.
‘Spot Thirteen’ gently unfurls, Deplume’s saxophone shining through in the latter part of the track, which is largely instrumental. ‘Standing Up’ has a languid energy, with its tinkling keys and odd, percussive rattle. The track is suddenly elevated towards the end, with a sudden rush of synths flooding in. The album’s closer, ‘Blink’, is another slightly eerie affair, built around one repetitive guitar note, with buzzing horns and odd whooshing effects emanating around it. Plain’s lyrics are typically poetic, as she sings, “With elastic energy/Circular it has to be”, another example of Plain’s ambiguity.
Though some of Plain’s lyrics may leave you clutching at straws, Prize is still a gorgeous, beguiling listen. Emotions are extracted through the record’s rich instrumentation as Plain’s musical friends collaborate in perfect harmony. Prize is an intricate affair, yet it has a beautiful calm that makes you feel like you are floating. Her best effort yet.