Islands: The piano returns for the center credit here. Easily the most interesting listen on the album. AĮden: Syncopations, layers of harmonies, synths and bongos creates a futuristic element. A standout in that it lacks something massive. It allows Sara to show off her voice better than wailing over massive production. I Choose You: Far more quiet than the other bombastic tracks before it, its a welcome change. She sings with phrasing similar to Taylor Swift, however Sara is far more sophisticated than Swift, in the fact that she knows her niche, and that this is it. It will have you sitting there like The Thinker, contemplating every lyric she says. B+ġ000 Times: Hello cellos, and hello mournful ballad. A sea of synths flood the chorus, with assistance from some trombones.
She shows off her dark and coarse lower register here, a contrast from soaring high notes that have been sprinkled across the album. AĬassiopia: Major scales storm the background of this track. And what is that in the final chorus? Could it be? Riffing? MADNESS. It's very similar to Gonna get Over You, in the fact that its a happy, oldies break-up tune. The oldies have returned, the funky piano, horns and owl calls could've found a home on a lighter version of The Great Gatsby soundtrack. Little Black Dress: Just when you think you're in for yet another ballad, the drum kick starts. Despite all of that, it feels like its dragging on, so it sadly gets really old, really quick. She hits some gorgeous head voice F#'s in the post-chorus, which adds to the haunting quality of the track. Satellite Call: A heavier ballad than Manhattan, it starts with dark piano and ghostly harmonies, how exciting! The producer of this track deserves some recognition, because this production is pretty dang awesome, it excellently portrays an intergalactic feel.
However, that doesn't save it from feeling like its treading back into waters she's already covered. "I'll gather up the avenues and leave them on your doorstep." She softy tells the story of a former lover who has essentially ruined Manhattan for her, so instead she'll "settle for the beach." It's soft and restrained, which is what her fans have come to love. Manhattan: Gravity has returned in the form of Manhattan (with some jazzy trumpets of course). "There's a war inside my heart gone silent / with both sides dissatisfied and someone violent / the problem that I have begun to see / is that I am the only lonely causality." It's a huge lyrical standout, she tells the story of a warrior like an ancient story teller, which makes it a deeply romantic listen. It's a heavy recall of 2012's Lie To Me, with Cello's at the forefront, and heavy jazz influences. Hercules: Bye bye major keys and hello dissonance. Overall it's a gorgeous up tempo track, instant stand-out. The instrumentation paints the image of a sunset surprisingly well, considering the lyrics don't really discuss it. Chasing The Sun: It's now become clear that living in New York has clearly influenced Bareilles (with the New York artwork, track titled Manhattan), as she sings about a cemetery in the center of Queens, Skyscrapers, and "Manhattan behind her." She also shows off her newly found pipes in the chorus, much like in Brave.
0 kommentar(er)
