Throughout, the album’s 14 tracks unravel into convoluted tangles of disembodied voices, discordant jazz piano, and droning synths.
With Little Oblivions, Baker upgrades her erstwhile folk style to accommodate a harder rock approach, though lyrically she’s as vulnerable as ever.
It takes profound empathy to write an entire album about your own past and have it turn out to be about your love for others instead.
Like Eilish and Lorde before her, Rodrigo possesses both a knack for stealthy pop hooks and a vocal control beyond her years. And even if Sour doesn’t quite transcend its myriad influences, it might at least inspire her fans to Google the Piano Man.
Originating as a quintet schooled in modal jazz, Squid’s transformation into post-punk disruptors is indicative of a band that relentlessly bucks against their limits. To hear them ply their craft on Bright Green Field, the album represents a crystallization of that impulse.
Daddy’s Home is slicker and more professional—and resultantly, more conventional—than anything she’s released to date. And yet, the album’s pitch-perfect ‘70s-retro stylings and testy lyrical themes are just as challenging as anything on 2011’s Strange Mercy.
The album is an ambitious, dizzying jumble of genres and tones, held together on the power of the singer’s beguiling voice and charisma.