Rundle has always been a multifaceted musician, equally capable of dreamy abstraction (as heard on her debut album Electric Guitar: One), maximalist textural explorations (see her work in Marriages, Red Sparowes, Nocturnes or collaborations with Chelsea Wolfe and Thou), and the classic acoustic guitar singer-songwriter tradition (exemplified by Some Heavy Ocean). But on her last album Engine of Hell, Rundle focuses on an instrument that she left behind in her early twenties when she began playing in bands: the piano. In combination with her voice, the piano playing creates a kind of intimacy, as if we’re sitting beside Rundle on the bench, or perhaps even playing the songs ourselves.