On the debut from Brussels, Belgium native and New York renaissance woman Charlotte Jacobs, the composer, singer and producer pens a record that puts winds, strings and synths to good use for a bilingual version of pop that never sits in one place very long.

The light and dreamy “Celeste” opens the listen with calm winds before abruptly shifting to busy and avant-garde ideas of pop that are cinematic in scope. “CYTMH” follows and is equally creative, where poetic, layered singing and more emphasis on synth adds plenty of intrigue.

Landing closer to the middle, “Xylen” welcomes Charlotte Greve’s careful flute to waves of subdued beauty, while “Owl” brings spoken word to an eloquent and minimal first half highlight.

The title track lands on the back half of the LP, and places strategic electronic ideas amid singing and talking, but it’s the radiant keys of “Coryfee” and strong attention to mood that makes this song alone worth the price of admission.

Landing close to the end, “DKVDW” leads gentle before shifting into frisky and stylish pop nods that buzz with melody and energy, and “Mala” exits with Jacobs’ gorgeous pipes alongside some glitchy sounds and Raf Vertessen’s drumming acrobatics that make for a mesmerizing finish.

Additional instrumentation is provided by Rebecca El Saleh (harp), Greve (saxophone) and Hannah Epperson (violin). Zubin Hensler’s engineering and production can’t be left out either, as the entire affair unfolds with a very distinct and impactful ambience that touches on classical, somewhat as if a lucid dream.

The real focus, however, is the singing in English and Dutch from Jacobs, and the mythical and Greek inclinations that make for a fantastical and surreal experience that’s wrapped in warmth and cryptic ideas.

Rating: B

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