Sophia Kennedy’s music sometimes sounds like a soundtrack to a world disintegrating, hanging on by a thread of memories. It combines the glamour and the morbid charm of tin pan alley show tunes from the 1960s or 70s, and yet it fully embraces the deconstructed modernism of club music.

Her sophomore album Monsters is full of plot twists; moments of prettiness dashed with paranoia. The title itself, is a self-ironic, comic-like commentary of being an artist, trying to tame their own creations like “monsters” gone wild, but also a nod to a generally threatening tension in the world.

Monsters is pop music teetering on the verge of ruin