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If there was a film based on the life of Benjamin Garrett, the man behind Fryars, it would be filled with plenty of drama of its own: a tricky split with his label before finding Fiction, a subsequent five year gap between Dark Young Hearts and Power, meanwhile collaborating on Sheezus with Lily Allen, touring with London Grammar and scoring a film. This second album is self and co-produced with Luke Smith, Rodaidh McDonald (tThe xx, How to Dress Well, Savages) and mixed by Jimmy Douglass (Blood Orange, Pharrell/N.E.R.D). It has been a busy time for the 24-year-old. For someone who comes across in relatively sparse interviews as quiet and thoughtful, it seems it is in his music that he can crystallise his life experiences and private contemplations.

Powers is described by Benjamin as "starting with the idea that it was a broader thing and each song was a scene that played a part. Lyrically it's based on this broader concept... It's kind of this thirty page script thing with pictures in. The whole album is basically kind of a movie, so it's running like a film soundtrack."

It contains all the strands of his extra-curricular activities. His penchant for pop recurs on multiple tracks. He told Dummy Mag: "I do a fair bit of work on pop projects. I prefer it when there's no specific brief and the artist is interested in what it is that I do. I tend to only work with people that are open to bigger ideas. Part of the appeal of working with others is that there is an audience waiting to hear what it is that you're making. That's a luxury I'll have to work towards with my own stuff." With tracks like 'On Your Own' and 'Cool Like Me' or 'The Prettiest Ones Fly Highest', a dialogue with a chart-friendly audience beckons.

Garrett by no means panders to an easy audience with this record. 'Thing Of Beauty' is abstract and philosophical, while 'Sequoia' is a lovesick quasi-ballad. All the while, nestled in the 16-track, 46-minute landscape are interludes providing electronic atmospherics such as the opening and closing '(Power Up)' and '(Over and Out)', helpfully signposting your aural journey. In a darker tone there are two dialogues, tracks 7 and 12 which tell a connected narrative of man called Willow who isn't very nice at all. The whole experience is a challenging listen, not because anything is particularly difficult to understand, but because you are pulled and pushed in differing directions, led and questioned.

A word on Fryars lyricism, which he claims is simpler here than his previous efforts. Power is a move away from "all that stuff you have to do in GCSE where everything has a double meaning... everything I did previously was absolutely riddled with jokes and literary puns that no-one ever got. So on this record the lyrics are probably clearer." This is mostly true of the repetitious chorus' of the 'poppier' numbers but 'Thing Of Beauty' contains subtly complex ideas such as "despite what he's throwing at me/ life is a thing of beauty/ maybe in the clouds he forgives me for my sins/ it's highly unlikely," "restore me" and "it makes me value my existential cause" - or even on 'Love So Cold' where "I saw the man that knows future's for life."

So is this a self-scored soundtrack to a film of Ben Garrett? Well, something you might not notice at first is that every song is written in the first person, which could be a tribute to his imaginative ability to write from alternative perspectives, but it doesn't always appear that way. Universal explain that it is a concept album charting the rise and fall of Willow Grady, an engineer and his subsequent self-discovery. This certainly seems to be the subject of the 'Dialogues' and spills into 'Thing Of Beauty' but joining the dots is a strain.

It's all a bit of a mystery, which is the way the Londoner seems to like things: "I enjoy it when the artist has something intangible and mysterious about them. It frames the music and allows the audience to be fully engaged in the experience. I'm trying not to ruin that."

Power is richly produced, up-beat in the pop mould at times, and tugging away at something deeper at others. Ben Garrett continues to carve an ambitiously unique niche for himself ranging as far from James Blake to chart music. It pulls at your body to dance and at your mind to think and is accessible at whatever level you choose to engage with it, be it as a one-listener or devotee.

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