Release date: May 17, 2024

Beth Gibbons released her debut album “Lives Outgrown” through Domino label. Her collaboration with Portishead in the 90s, particularly on Dummy and Portishead LP, culminated in the creation of some of the most enduring works of those years, and the band became one of the prominent outputs in the Trip-Hop genre that was emerging in UK at the time.

Gibbons has brought 10 tracks to this album, all of which she has recorded over the past decade, and in its production, she has had Lee Harris (Talk Talk) and James Ford by her side.

This album, focusing on death and life after it, provides a deep spiritual experience for the listener. The great sorrow that flows through the record cannot be denied, but the raw emotions that Gibbons presents create a firm emotional center for it.

Lives Outgrown sounds like a sincere prayer or meditation of a middle-aged wise woman who is welcoming the inevitable changes and damages that come with the passage of time and aging, embraces them along with vulnerability. She has touched everything, from the experience of menopause – something rarely referred to in music – to watching the death of loved ones. And she shares these experiences in the most poetic way.

Another notable point is the departure from the Trip-Hop beats, and the inclination towards the realm of classical instruments, where strings and brass form a magnificent palette.

The album begins with the folk ambiance of “Tell Me Who You Are Today” where the gentle guitar paves the way for the orchestral percussion and strings. Clearly, the slides and microtonal scales give the track an Oriental flavor.
The bassline which “Floating On A Moment” starts with is one of the catchiest and most delightful basslines that can reach one’s ear. Despite being released as the first single from the album and being reminiscent and joyful for the older fans, it can be said that it is not one of the better tracks of the record. Of course, Gibbons’ genius is still seen on it, but perhaps the multitude of ideas on the track has made it scattered.

The pounding beats of the drums on “Burden of Life” create a cinematic vibe, and the mantra-like acoustic guitar and the shocking passage of the strings add more weight to the melancholic atmosphere that Gibbons designs. Although the track has a steady structure, the closer we get to the end of it, the darker it becomes, and her questions about the pain of existence remain unanswered.

Undoubtedly, one of the highlights of the album is Lost Changes. A piece that has a clear beginning and end. While the melody does not attract attention as much as other songs, it is still a completely personal and special song that gets much better in its second half.

One of the most popular tracks of the album “Reaching Out” which if not the best track of the record, is definitely the strangest. From the energy burst with the carnival drums and brass to the screams and paranoid back vocals that Beth creates in the background craft a unique experience. This risk-taking spirit of Gibbons in experiencing various paths on a short project, after all this time, is impressive.

From Gibbons’ confrontation with another one of these life-time experiences, the track Oceans is born, which quickly injects this sharpness into your soul like a needle, and the cellist with the bow strikes your wound. The harshness of this fact that you can no longer give life to a baby. I, like you, am disappointed with reality, Beth!

One of the most enjoyable songs of the album is Whispering Love. A hopeful and peaceful ending in praise of love, with brilliant flute soloing.