Image by Isaac Reynolds (@eyezsac).
mango mango mango (real name Mags Gwynne) is a multi-hyphenate if ever I met one. The independent, non-binary multi-instrumentalist is a musician and producer based in Edinburgh; their music is a unique blend of EDM, trip-hop and what they call 'cryptid-pop'.
After slowly releasing singles and performing in Edinburgh over the past year, they have just released their debut album Cryptid Country. The result is a culmination of these electronic sounds, laced with gothic undertones and with queer identities at its core. Having listened to the previous singles and seen mango live a few times, I've been eagerly awaiting the album release.
Put simply, a cryptid is a creature whose existence is disputed by science. By embedding this folklore into the synth-driven, glitchy universe of Cryptid Country, Mags uses it to reflect on trans experiences. And the album certainly inhabits its own universe - both musically and narratively. I was instantly gripped by its themes of transformation, body horror and the uncanny - all channelled into an overarching story of a character who is killed and replaced by someone completely identical, but behaving differently. It is as much an allegory for the Othering that trans people face, as it is an exploration of another life just within reach.
The claustrophobic, breathless noise of 'further and further from help' instantly create a sense of panic and disorientation. Almost a minute and a half has passed before any kind of percussion starts, a stuttering pulse suggestive of the oncoming tension. When mango finally starts singing, they sing of fear over things not working out, and of being made to stay in skin they hate. Then there is the witty, yet sinister line:
"Baby, I'm into you
can I sink my teeth into you?"
There is a beautiful guitar solo in this song which I really liked; meanwhile the synth builds in intensity. The overall sound is quite dreamy, but dangerously so - our character is confronted by something reminiscent of the self, but with the capacity to destroy.
The abrupt opening chords of 'sick dog' leave no time to adjust. I loved the unusual arrangement on this track; the soft guitar melody is broken up by these explosions, swelling and retracting yet never transforming into a heavier section as it may suggest. It thus cleverly embodies a kind of 'Jekyll & Hyde' conversation between the voices of the main character, and the thing that is taking over them. mango also sings of overstimulation and panic attacks, equally represented in the music.
This is followed by 'deadname', a track that I was already familiar with and is probably my favourite off the album. It opens with the chant "a curse in thy name", a powerful lyric that plays on the dehumanising experience trans people face - being deadnamed. It is the most electronic so far, reminding me of New Order, and darker 80s new wave such as Depeche Mode. The lyrics shine here; the image of a "chrysalis [..] on fire" depicts something terrifying emerging, while that of the creature spreading its wings is liberating. As the music fades, mango speaks this phrase with a final determination.
'by a river' is an eerie interlude in the unfolding narrative, something that really adds to the overall cohesion of the album. It resumes with the single 'let your guard down', originally released back in May. It's much more vulnerable and stripped back than what we have heard so far, engendering an almost out-of-the-body serenity in its sound and lyricism. I especially loved the guitar tone here, and its gorgeous meandering towards the end.
mango really slows things down with 'guts'. The lyrics are as sharp and personal as the title implies, whereas the sound is more mellow, utilising soft acoustic guitar before transforming into the distinctive cryptid-pop we've been immersed in. Lyrically, the song builds on body imagery/horror - "bury my body // don't take it from me." It also touches on the idea of undeserved mourning and loss, directed towards someone selfish and cowardly:
"You don't have the guts, I do
to tell them all of the truth
you make it about you."
The next single is 'quelle horreur', an incredible track that I've unapologetically had on repeat since June. It pivots towards something darker, driven by drum loops and grungey guitars. Placed in the context of the album's narrative, the horror movie visuals depict a mutation both literal and metaphorical - that of someone being made into a monster. I could go on and on about this song, but since I already wrote a review on it I'll rein it in (check out the full piece here).
Following another interlude, 'my enemy' launches into a bolder, faster movement fuelled by this frantic trip-hop beat. There is something empowering about this character finally naming their enemy, a sentiment that becomes the refrain to this song. mango explores a more upbeat, indie sound on 'lowpinklight'. It has a syncopated, jumpy feel, and despite being much shorter than the other songs, the catchy synth hook keeps the energy high.
'recruit' was first released as single back in November, in collaboration with Ada Logan. Sirens immediately demand attention, while a menacing bassline lurks beneath the surface. Mag's vocals are contrasted with something more demonic, even parasitic; another instance in which two voices are at war and neither can be suppressed. The guitar is slightly atonal, completing this unsettling atmosphere.'dontwannathink' makes further use of ethereal synths as this story nears its end. mango mentions glass shattering and this attempt to suppress feelings that constantly threaten to erupt; there is a push and pull between wanting to forget but inevitably being consumed by this mysterious 'her'.
And so, the journey through Cryptid Country comes to an ends with 'big coat'. The acoustic guitar is soothing, paired well with the autumnal mood of leaves falling down and taking the big coat out of the closet. Layers are an integral part of this album - whether that is the literal walls of sound, or the complex imagery of concealing. While listening, Jane Schoenbrun's film I Saw the TV Glow was never far from my mind, and this mix of acoustic guitar and glitchy effects had Yeule's 'Anthems for a Seventeen Year-Old Girl' all over it. As this ambient soundscape concludes, there is a candid moment in which we can actually hear Mags placing their guitar down. Then, just when you think it's all over, a faint whispering is heard:
"I'm still here"
Has the character made it out of Cryptid Country? These final, barely audible words suggest so, paving the way for a hopeful ending.
Cryptid Country's thirteen tracks are truly an impressive feat, and weave together a narrative that urgently speaks to queer expression - and not to mention is packed with gothic imagery that appeals to the literature student in me. As a musician, mango has an ability to use layers upon layers of electronic sound, and still make it all feel so raw. The album is a true catharsis, exploring and purging various emotions until all that's left is a single voice - a phrase that, although whispered, resonates and cannot be erased.
Cryptid Country is available to stream now!
