WHEN someone is so revered for their work when not at the absolute centre of attention, it can often come across as something of an insurmountable task when they attempt to assert themselves as the focal point.

Given songstress Lucy Rose’s reputation as a prolific backing vocalist, this is no doubt an issue that has consumed her mind on many an occasion as she continues to step out of the shadow cast by her association with bands such as Bombay Bicycle Club. As expected from the brief teasers that the public had been privy to, this album sees Rose unequivocally distancing herself from the belief of fickle critics that she’d perhaps linger as a folk singer/ songwriter, drawing stagnating comparisons to the same old Laura Marling and Joni Mitchell. Rather than endure this potential hardship, Rose has thrust herself into a brave new world; in which no sound is too challenging and no instrumentation too much of a far cry from what had preceded it.

Ambient keys and an incredibly soothing lilt on ‘For You’ mark the album’s genesis, and it’s an incredibly effective one at that. From the very opening note, Rose clearly states this record will see a notable expansion in her repertoire, distancing herself from the more gentile, folky ballads of past forays.

Brazenly straying into the kind of realm that is populated by much loved outfits such as Phoenix, Metronomy  and Passion Pit on ‘Your Eyes’, she does so with a distinct lack of trepidation that must be admired from an artist who; in the eyes of many, arguably already found her niche on previous albums.

A wilful fusion of her folk roots and sleek pop occurs on ‘Like An Arrow’, which features the kind of lavish production that adorned Two Door Cinema Club’s sophomore effort; before ‘Nebraska’ grasps for an air of Americana that is steeped in the tradition of artists as varied as Ray Charles and Randy Newman; one which she finds with a charismatic performance throughout.

‘My Life’ sees her belt out a rousing acoustic ode to unrequited love, with the addition of currents of slow burning electronica lying just below the surface supplying notions of Portishead and Massive Attack to the proceedings. The sentiment comes across as entirely pure and also dripping with urgency; as though her very existence depends upon expressing these deep seated emotions.

‘Till The End’ exudes the kind of intricate and ornate beauty that has recently made stars of Wolf Alice despite remaining entirely of her own design; its captivating drum line recalling influences of trip hop and the more poignant side of 90’s era dance.

Possessing some of the most abstract musicianship on the entire record, ‘Cover Up’ is incredibly atmospheric in nature and lurches forward with fidgety synth and brooding guitar. Vocally, this couldn’t be further from the delicate yet immediate delivery that had been pivotal to her previous work, as she enables her vocals to run parallel with the music and intermingle in an altogether more daring fashion.

Stark and ridden with sorrow, ‘She’ll Move’ treads the uneven ground between tense and vaporous with the skill of a veteran and produces something truly remarkable that’ll consume your senses on first listen and retain your attention afterwards. Featuring aspects of the eccentric production of Hudson Mohawke in its odd bleeps and celestial noise, it’s one of the finest tracks on the record without doubt.

‘Work It Out’ sees her retreat to the comfort of the familiar as she provides a gorgeous, piano led composition that is accented by hints of her newfound adventurous side, before the harsh guitar and percussion of ‘Sheffield’ is juxtaposed by her stunningly wispy incantations.

‘Lone Ranger’ and its combination of hazy guitar and reverberating percussion conjures comparisons to sister trio Haim, before the frantic and primal ‘Like That’ demonstrates that even as the record reaches its climax, she’s still got a wealth of ideas and enthusiasm for this new and reinvigorating direction.

When examining her catalogue as it stands, this is unmistakeably Lucy Rose’s clarion call and boldest statement to date. She’s no longer a backing vocalist who’d occasionally throw caution to the wind and deliver a record of her own devising; she’s a bona-fide artist in her own right and one that is gunning for your affection.