Whilst – rightly – nobody ever thinks or cares much about the writers, it’s still worth pointing out that Tresor follows it’s 2018 predecessor Le Kov in being delivered by Gwenno in either Cornish or a smattering of her native Welsh; you sign up for a lot of things when doing this job, but becoming multi-lingual isn’t one of them.
Self indulgent grumbles over, it’s the intent of the words in whatever tongue they’re in that garner as much weight here, with songs dealing with more introspection in the wake of lockdowns, motherhood and an increasingly disenchanted view of those supposedly in charge of our lives.
On this theme N.Y.C.A.W – (Nid yw Cymru ar Werth, ‘Wales is not for Sale’) pushes back against those who use nationlism as a tool to be divisive, whilst the title track embraces the disconnect between competing definitions of modern womanhood. Musically the tone moves between dystopian folk, wonky pop and psychedelia in the mould of Jane Weaver or Gulp, but latterly Kan Me, Keltek’s washed out hauntology and closer Porth la are firmly in Scottish IDM mavericks Boards of Canada‘s realm. This article is only available in English.
You can read a full review here.