‘Photograph’ unfolded as a quiet but disquieting continuation of Keeley Forsyth’s interior world, moving beyond the stark foundations laid by ‘Debris’ into something more suspended and introspective. Written and recorded in conditions of deep domestic isolation, the EP reframed the home not as refuge but as a site of emotional displacement. Forsyth’s lyrics circled the idea of being homesick while still inside one’s own walls, life reduced to rooms, routines, and tasks. Rather than narrating events, the songs captured states of mind, allowing small gestures and fragments of thought to carry weight. Her voice remained the emotional centre, intimate yet distant, as if drifting across spaces before snapping back into the room.

Sonically, ‘Photograph’ expanded on the electronic language hinted at in the closing moments of ‘Debris’. Working again with composer Matthew Bourne and joined by Ross Downes, Forsyth wrapped her vocals in otherworldly synthesisers that stretched, blurred, and dissolved traditional song structures. The music breathed slowly, favouring atmosphere and tension over resolution, drawing comparisons to the late-period work of Scott Walker in its refusal of comfort or familiarity. Darkness permeated the EP, but it was never empty; instead, it searched for strange beauty within confinement and modern detritus. ‘Photograph’ felt less like a conclusion than a threshold, pointing toward a future where Keeley Forsyth’s songwriting continued to open outward while remaining deeply, unsettlingly personal.

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