It reflects the heaviness and celebration that comes with surviving in a world that leaves you to forge your own path, as Auder was haunted by the question "what if we could rewrite history?" throughout its creation.
In this context, Auder declares that "pop music is meant to be experienced openly," discarding the intentionally enigmatic elements that characterised her previous releases. Its imagery evokes her struggle coming to terms with her experience as a trans woman, and everything glows with unbridled emotion, a reflection of her personal history. As the infinite spine unravels, it also imagines a utopian future in which blame does not exist.
The album follows a remarkable run of 3 EPs - 2021’s 5 Songs For The Dysphoric, 2020’s two caves in, and 2018’s Who Carry’s You as well as a myriad of nuanced, poignant singles and collaborations with Celeste, Clams Casino, Caroline Polachek, Danny L Harle, and more. Initially a member of the experimental beat-making and SoundCloud rap scene from which her early recordings formed, the new music is her clearest evolution as a songwriter, storyteller, composer, and artist. Woven together by this community of support, she is crafting her most honest and immediate work to date.
Auder's baroquely orchestrated pop songs fuse classical and post-rock elements with contemporary themes of generational discontent and personal turmoil, resulting in vivid musical portraits. The early EPs helped define what would become the foundation and sonic palette for Lauren’s forthcoming debut album. Auder’s unique vision and take on pop music was met with early critical acclaim with Pitchfork praising their debut single “The Baptist'' as “Intense and spiritual pop” and The Evening Standard calling it “Irresistible Neo-Gothic pop.” Spending these last few years working with close collaborators like Mura Masa, Jessica Winter, Dviance, and Alex Parish, Lauren has been flourishing into the artist ready to live up to the visionary potential that coursed through her early releases.