Noah Kahan is a master of articulating some of the most intimate, uncomfortable thoughts we all have, but he also allows us to feel comforted by our darkness. His third full length album, 

, fully captures this sentiment with a distinct New England folk backdrop.

 how his album would be the “most Autumn shit ever.” In a note talking about his third release, Kahan mentioned his return to writing folk songs after facing burnout from pop-infused “professional songwriting.” In this sense, 

 feels like both a homage and homecoming, though Kahan mentions that lately, he hasn’t left his hometown.

Though Kahan’s record nods to New England, he does it without overusing any of the cliches people associate with the region. The album’s titular track, “Stick Season,” was released as a single in July, and is one of Kahan’s standouts. He laments about a relationship which has since slipped away, and the lyrics are filled with contradictions of joys and hurt, detailing how “Once called me forever now you still can’t call me back” and “Saw your mom she forgot that I existed.” The phrase “stick season” refers to the transition from fall to winter in Vermont, where the leaves have fallen but the snow hasn’t touched down yet. In the same way, Kahan wrestles with holding onto this relationship while also facing the reality that it’s over.

Another song that uses New England as the medium for his conflict is “Homesick.” Kahan is proud of his home in a way that most of us are, where the love for a place is inextricably tied up with its faults. He sings about “dirt roads named after high school friends’ grandfathers” and how “motherfuckers here still don’t know they caught the Boston bombers,” emphasizing the small towns that litter the area and the effects of their isolation. Despite this distaste for some elements, Kahan wears his hometown like a badge of honor, embracing the stereotype that “I’m mean because I grew up in New England.” Both “Stick Season” and “Homesick” are songs that sound like they’re meant to be screamed at live shows.

Kahan is a storyteller at heart – creating vivid images with his words and zooming in on small details, from “every song in a minor key” to “attention deficit kids in gym clothes” which bring the listener all the more closer. These lyrics are highlighted by haunting strings and hymnal sounding backing vocals, which also sneak and surge into a track when least expected. Kahan loves a buildup, but makes each one new instead of delivering the same style each time.

One of Kahan’s specialties best exhibited in 

 is his ability to deliver gut-wrenching lines in a whisper, making you falter and question what you’ve just heard before you’re able to process it. Kahan dives into the most vulnerable places, whether it’s feeling undesirable (“Come Over”), or not even being familiar with himself (“Growing Sideways”). Though these feelings are human and everyone has experienced them, not many people have the guts to admit it over and over again. Kahan keeps testing the waters with his audience, opening up a little more with each song to see if they are receptive to the same dark feelings that he harbors.

Kahan’s last track, “The View Between Villages,” finishes the album with a flourish, capturing all the mixed emotions of coming home: the good, the bad, and whatever remains of small town New England. Though Kahan’s album directs listeners every which way, this song feels like he ends up right back where he started – and it’s an honest place to be.

Noah Kahan comes to Boston on October 22, 2022, at MGM Music Hall.

Noah Kahan returns to his New England roots on "Stick Season"

The past five years have proven tumultuous for R&B singer Adele, as her latest album’s primary focus is on her recent divorce with ex-husband Simon Konecki. Despite the subject matter, she reflects less on her past lover and indulges more on the transformations which have taken place within herself.


requested Spotify remove the “shuffle” button as default when listening to artists’ music.

“This was the only request I had in our ever changing industry!” she 

 on November 20. “We don’t create albums with so much care and thought into our track listing for no reason. Our art tells a story and our stories should be listened to as we intended.”


From the first track to the last, Adele evolves both sonically and lyrically. Her opening track introduces a sweeping and enchanting 1940s-style string movement, utilizing her powerful voice for a haunting delivery, especially when dragging out the song’s titular phrase, “Strangers by Nature.” At the end of the track, Adele is heard saying, “Okay, I’m ready.”

Throughout the album, Adele uses this new technique of spoken recordings, most notably on “My Little Love.” On this track, Adele attempts to translate her pain for her nine-year-old, inserting raw bits of conversation like: “Mummy’s been having a lot of big feelings recently” and showing the playfulness in their relationship when he asks, “At all?” and she repeats the words back to him. Adele sheds her walls and reveals the most vulnerable parts of herself in a way the singer has never done before. Whereas a majority of her previous songs revolve around the emotions of heartbreak, these new songs show her rising up and building herself back up again after experiencing those feelings.


In “Cry Your Heart Out,” Adele croons about her loneliness contrasting an upbeat tune. She questions in the chorus, “When will I begin to feel like me again?” “Oh My God” follows in a similar vein, experimenting with a jazzy and booming sound. With the exception of “Easy On Me,” the first half of her album harps on a different style than one would expect to hear on an album centered around divorce.


The switch occurs at “I Drink Wine,” when the leading piano chords set the stage for a slower, ballad-infused second half. Here, the listener begins to realize that Adele’s healing includes also being at war with herself. She sings, “So I hope I learn to get over myself” and “You better believe I’m trying” to demonstrate her struggles.


As she nears the end, the album turns into a love letter to herself, pushing her forward. In “To Be Loved,” Adele articulates the simple desire of being loved and the lengths she went to try and accomplish this. “Hold On” is laced with affirmations, and “Love is a Game” faces ugly truths. The last three songs are all six minutes in length or slightly longer, but require that space to convey Adele’s emotions in all of their glory. Her final lyrics on “Love is a Game” wrap up the album nicely, as she notes, “I can love me / I can love again / I love me now like I loved him…I’d do it all again, like I did it.”


Adele is back to unveil everything on "30"

, is crowded, overflowing, and full to bursting — and yet somehow, it all still works.


Known for his endearing raspiness and genre bending, Dijon can switch between a serenade and a cry without a moment’s hesitation. The first track on the album, “Big Mike’s,” is a big proponent of this concept, coasting from sugary lyrics like “I like how you look when you get good news” to the desperate words of “I might drop to my knees, Joanna please.” 

, Dijon explained how he crafted “Big Mike’s” with collaborator Mk.gee (Michael Gordon) and why he positioned the track as the first one: “We just felt like if this is on an album, I’d want to hear this first because I can decide if I want to be here or not. We wanted it to be hypnotic, and I wanted to be as confrontational as possible.” From the beginning, Dijon sets the tone of 

, adding a cozy ambience with discordant bass notes and jumbled piano keys splashing throughout the song. Casual conversation and comforting laughs creep in throughout, allowing the listener to fully immerse themselves.


He keeps up the tempo with “Scratching” and “Many Times,” each song seeping into the next, making it nearly impossible to tell where one song ends and the other begins. Joanna is addressed once again in “Scratching,” this time in the form of lyrics like, “Oh Joanne I’m stuck, oh Joanne I’m tired.” In “Many Times,” Dijon sounds distressed and his voice strains in a tune that talks about “airing our dirty laundry.” Though some of the album’s songs sound like love songs, they seem more often to center around heartbreak than romance.


In “The Dress,” Dijon croons: “We should go out and dance like we used to dance / We should go out and hold hands like lovers hold hands.” It’s a softer R&B song resembling more of his earlier tunes, like his 2018 single “Skin.” “The Dress,” however, seems like the only track to hold this sentiment of referencing past styles.


Throughout, Dijon’s voice isn’t the only thing doing the talking. From fly-on-the-wall soundbites to isolated, empty stretches and hand clapping in “Rodeo Clown,” he creates an almost cinematic experience. Even his final track, “Credits!” is devoid of distinguishable lyrics as it sounds like his words are being sung from a distance (upon further research he’s actually singing: “Will you freak with us,” but the 

 is still punctuated with several [?]s). In essence, he accomplishes more by saying less.


, Dijon unleashes an orchestrated recklessness, contributing to his statement in the same Apple Music interview where he says, “I think the idea of sexiness or being calm and collected is a pretty stifling thing as a musician.” He rejects order, genre, and in turn crafts an album which always keeps the listener guessing and always entertained, jumping from folk to R&B and interspersing minute bursts with longer compositions.


Dijon’s cacophony makes for a surprisingly sweet melody on "Absolutely"

At this point, it’s hard to ignore FINNEAS’ renown as a talented pop artist and production powerhouse (not to mention eight-time Grammy winner at only 24 years old). Besides writing music and collaborating with sister Billie Eilish, he’s also

 produced songs for artists like Selena Gomez, Camilo Cabello, and Justin Bieber

 FINNEAS embarks on a project that is all his own.


FINNEAS tackles several forces in 13 tracks, wrenching with everything from love (see: “Love is Pain”) to the world collapsing all around (see: “The Kids Are All Dying”). The opening song, “A Concert Six Months From Now,” is a stinging reminder of the world’s current reality despite being written in 2017 (“I’ve already purchased two seats for their show / I guess I’m an optimist”), all the while contrasting FINNEAS’ raspy lilt with an uproarious bridge. Similar tensions can be found in “The 90s,” this time using autotune features which jolt the audience wide awake.

The album positions FINNEAS as both observed and observer. In “The Kids Are All Dying,” the perspective shifts from “So shut up, the internet is mad / They say you’re problematic and you better take it back” to “I know my pool is heated / Business class is where I’m seated / And I’m whiter than the ivory on these keys.” The song plays out like an anthem, capturing modern day frustrations and the confusion which comes along with addressing complex issues like poverty and climate change. At times, the perspective shift can be confusing, but at others, it allows for an endearing, conversational back-and-forth. His awareness furthers in “Happy Now?” where he sings, “So take a drive around town in my douchebag car” and “They’d tell me, ‘Everything is not about you.’” In his self-reflection, FINNEAS humbles himself.

These perceptions, both by himself and others, give the record a sort of unsettling feel, as if the listener is examined under the same microscope as FINNEAS. In “Medieval,” FINNEAS talks about “going out of fashion,” and in “The 90s” he sings, “Hate how easy they can find me /

Just by looking up my mom’s address.” In a way, FINNEAS invites listeners to experience the same anxiety as he does.

Despite some of the album’s gloomy notes, FINNEAS cuts through the tension with moments of tenderness, as exhibited in “Peaches Etude,” a classical piano tribute to his pitbull. In “Only a Lifetime,” FINNEAS holds himself open and confesses, “Worry way too much about Mom” and captures glimmers of the life he loves with “It’s staying up too late at night and laughing under kitchen lights / So hard, you start to cry.”

Though some may be confused by the album’s sound compared to its title, FINNEAS has an answer. In a 

 published on Oct. 19, FINNEAS explained:

“To me, the title is about the fact that being observant and articulate about all the things going on around you doesn’t necessarily mean you can’t be an optimist,” FINNEAS said.

As the final track, “How It Ends” clicks this statement into place. Upon first read, listeners may worry the ending will tell a somber tale, tying in with the album’s earlier messages. Delightfully, it delivers the opposite with lines like, “If you wanna dance again / you can dance again” and “If you wanna see the world / don’t take the highway.”

In a ceremonious finish, FINNEAS reassures listeners and reinforces his mindset, reminding them the gloom and doom he’s been singing about isn’t “how it ends.”


On "Optimist", FINNEAS practices humble self-reflection

OVO Sounds/Warner Records · April 17, 2020

Canadian rhythm and blues duo dvsn dropped their third studio album on April 17, a record that’s reminiscent of a classic ‘90s style with enough notable features and sampling techniques to keep listeners hooked. Paul “Nineteen85” Jefferies overlooks production, while Daniel Daley takes on vocals with a smooth voice that rarely falters.

“No Good” is a strong opener that already tugs at the heartstrings of listeners, and is anchored by a steady bass that drives the feelings home. The song is an indicator of what to expect with the rest of the tracklist, mixing in vulnerability atop an emotional soundscape. Daleys sings, “I don’t know what I did wrong/ Didn’t do this right, didn’t that like you need.” At the end of the track, listeners hear a woman speaking as the last soundbite, who says, “I have a hard time opening up to people…I just, I feel that, my being emotional in front of someone – it makes me weak.” dvsn moves through this idea and continues combating it with each song.

As the album progresses, the rhythm remains consistent throughout, some songs picking up over others, but still carrying an effortless groove. “Miss Me?” is one of the first signs of a time change, carrying a bouncier effect and successful layered harmonies, giving the tune more depth. More of that shift is seen in “Keep it Going.” The variation is much needed, otherwise every beat sounds identical.

 is its features, from Jessie Reyez to Summer Walker to Snoh Aalegra. Daley’s voice melds seamlessly with each, providing a sturdy foundation allowing featured vocalists to shine, but not one voice overpowering the other. In “Between Us,” dvsn samples from itself, borrowing from its “In Between” single, released in 2019. Snoh Aalegra adds to the track with her powerful and delicate vocals, complementing Daley’s voice to achieve a fuller piece.

Speaking of samples, the album isn’t complete without each individual sound. “Between Us” also takes from Usher’s “Nice & Slow” (1997), whereas the namesake title track, “Muse,” samples Lonnie Liston Smith’s “A Garden of Peace” (1983). Not only do these samples illustrate a blast from the past, but they also go to show dvsn’s musical proficiency.

What results is a comprehensive product that proves mastery in R&B. dvsn is able to include all the elements which make R&B memorable and even transport listeners to the past eras in which the genre especially thrived, giving hope for today’s hits to build upon.

dvsn transports listeners to the past eras of R&B on ‘A Muse in Her Feelings’

5 Seconds of Summer’s fourth studio album, 

 – an acronym using all of the band member’s first initials; Calum, Ashton, Luke, and Michael – follows the storyline of a “young man’s life, for better or for worse,” as noted in a 

The Australian pop-rock band has officially cemented its status in the new genre after teetering between the pop-punk boundaries with earlier albums like their self-titled debut, 

. After a two-year hiatus, the band returns all grown up, and their vibe has undergone some sonic transformation. However, 5SOS fails to achieve a clear vision.

Though bassist Calum Hood claimed in a Billboard interview, “This is the best representation of who we are, not just as artists, but as people,” the album fails to paint a clear picture. Maybe as a sort of coming-of age album, that is exactly what they intended.

“Easier,” written alongside Charlie Puth among others, acted as a “first stepping stone” for the rest of the album, which also focuses largely on relationships. “Easier” is the kind of song that receives air-time on the radio, but sounds far too similar to the rest of Puth’s work to truly be claimed by 5SOS

The bounce and isolated bass chorus mirrors that of Puth’s “Attention,” Hemmings’ runs, though rougher around the edges, following the same pattern. The song is characterized by electro-pop beats and Hemming’s high riffs, which dominate the rest of the album as well. In the band’s earlier works, they were able to graciously rotate between each other’s voices, but as of late, the frontman stands in the limelight.

Other songs off the album, such as “Old Me” and “No Shame” sound like the band is hoping to imitate fellow popular artists. “Old Me” is reminiscent of Maroon 5’s Adam Levine’s high reaches, but sounds strained coming from Hemmings. “No Shame,” a song critiquing the fakeness in society, has a chorus which somewhat resembles the bouncy timing of Donna Lewis’ “I Love You Always Forever” chorus, which seems off-putting in the context of the album. Though it’s clear 5SOS is trying to draw inspiration from those around them, the end result is an album with indistinguishable and unmemorable tracks.

“Teeth,” one of the pre released singles on the album, is an example of this as the whole three-minute song is an obnoxious sound clash. The lyrics, “Fight so dirty, but your love’s so sweet / Talk so pretty, but your heart got teeth,” grapples with the ups and downs of a relationship, but the erratic energy makes it difficult to listen to the message.

Additionally, the simplistic song titles are overdone instead of coming off as clever. “Best Years” and “Lover of Mine” deliver what one would expect and leave little room for creative interpretation. In an interview, Hemmings describes “Best Years” as a “beautiful love note,” and the band mentioned in an Instagram Live they hoped the song would become some of their fans’ wedding songs. Despite the sweet sentiment, there is nothing special about the song that helps it stand out above the rest, let alone earn a spot in future ceremonies.

“High,” the last track, serves as a small redemption to the rest of the album. Hemmings explained, “Songwriting in itself is very selfish, and this song in particular, the lyric [‘I hope you think of me high / I hope you think of me highly’] is very clever and very self-involved. I love the honesty. That’s why I wanted to close the album with it.” It shows, if only briefly, the musical progression the band has gone through from their start as young teenagers to full-blown adults.Hemmings also said for this song in particular, “I really wanted a Beatles-esque song with quirky chords.” With that in mind, “High” has some vague “Lucy in the Sky With Diamonds” vibes, but lacks the ability to harness musical prowess.

In their first album of adulthood, 5SOS tries their best to satisfy so many needs at once. However, in doing too much, they offer up a confused story. It’s a valiant effort from the members, but hopefully as they continue growing, they’ll pay mind to revise their vision.

‘CALM’ is a valiant effort, but 5SOS needs to revise their vision

, embraces his multifaceted personality, focusing on six different characters that each represent a different part of him. Each coordinates with a color representing his mood — purple as existential, blue as hopeless romantic, green as goofy, yellow as positive, orange as fuckboy, and red as spicy Lauv™. Navigating through the album, it’s tempting to try and assign each song to a category. “El Tejano” is undoubtedly representing spicy Lauv™, whereas the visualizer video for “Feelings” is overlaid in blue. Yet many of the songs’ colors bleed together, crafting a more cohesive composition.

In embracing all of his unique characteristics, Lauv doesn’t try to censor himself; Instead, he delivers every story with as much honesty as possible. “Drugs & The Internet” is an energetic kicker lamenting “I traded all my friends for drugs and the internet” with a melancholic finish of “I wonder what it feels like / To be more than I am.” Many of the songs are a variation of the opener, seesawing between poppy tracks and tender sentiments.

“fuck, i’m lonely,” originally concepted in an airport, touches upon missing an old flame. The song, featuring Anne-Marie, is a fun teaser that showcases Lauv’s higher-pitched soft tones. Anne-Marie’s feature lends to a fully dimensional discussion of an old hook-up dynamic.

The album boasts an impressive lineup of featured artists, including BTS in “Who” and Alessia Cara in “Canada.” However, Lauv accomplishes more in his solo songs than he does with other musical partners. His unaccompanied tracks deliver a better full-fledged picture of who he is, whereas the ones with other artists adhere too willingly to outside sounds.

“Feelings” captures what feels like some of Lauv’s most original sounds, using sweet lyrics like “I wanna do whatever you wanna do” with a consistent, swaying rhythm. But the song is not exempt from sadness. Lauv makes sure to reference all sides of a relationship, such as, “Is my love too much? / Is it just enough for you?” and “That it hurts sometimes when I’m with you.” The first line deals with feelings of inadequacy, and the latter acts as a reminder that no one comes out of relationships unscathed. He captures a great level of emotion within just three minutes, demonstrating his prowess in making his listeners truly feel something.

In the end, Lauv wraps up the album with the anthem of “Modern Loneliness,” which explores the world’s current social media paradox, but also more. The singer croons, “Modern loneliness, we’re never alone / But always depressed.” In the opening of the song, he pays tribute to his father and how he has shaped who Lauv is today. From there, it’s a quick transition to feelings of emptiness where he shares a universal truth: “And I could use some love.” Though Lauv’s friends are easily accessible and within reach thanks to modern-day technology, he still deals with his own darkness.

It isn’t necessarily Lauv’s lyrics that make his music so effective, rather the consistent tone he establishes for the story he’s telling. Though addressing all his emotions on 

 was an ambitious task, Lauv thrives within the overarching theme allowing for an intriguing, introspective escape.

Lauv gives fans an intriguing, introspective escape on ‘~how i’m feeling~’

is the pair’s third studio album, with songs “Hallelujah,” “Better Now,” “I Wish I Never Met You,” and “Happy” released prior to the full album drop.

The tracks are ambient with prominent instrumentals peeking through in each. The duo, consisting of Anthony West and Josephine Vander Gucht, contrasts each other sharply with their distinct vocals. Vander Gucht’s voice is high-pitched and smooth, while West’s voice has a slightly rougher edge.

The ticking in “Dust,” the first track, lends the song an anxious feeling, and the song’s very presence on the album is confusing. The album is like a teenage rom-com movie donned with flowery montages and gut wrenching breakup scenes, but the audience is confused by an opener acting, as the duo described in a 

 interview, as a “stream-of-consciousness about the state of the world and the craziness of capitalism.” .

“Hallelujah” continues with promise, but adjusts to a quicker pace which almost feels rushed. The bass pounds, but not in a desirable way like some of their older successful tracks, like “Body Gold,” have mastered. Each song seems to be categorized by this formula, starting out sweet and hopeful, if at times melancholic, and then exploding into an obnoxious soundfest.

The album revolves around relationships, but uses overdone cliches to hit the listener over the head with its subject. It’s like they’re saying, “This is an album about relationships!” In “Happy,” Oh Wonder tries to get away with the “I didn’t think that I’d see you here tonight” line. “In and Out of Love” bursts forth with “You’re like god damn dynamite” and “Drunk on You” is laced with line after line like, “We were sitting curbside, late night, city views / Sipping on some cheap wine and staring at the moon.”

In addition to the weak lyricism, the album doesn’t really feel cohesive. There’s not one element which ties everything together besides the somewhat consistent relationship theme. In their

 interview, the pair describes each of their songs and what they’re about. The topics range far and wide, with absurd descriptions like , “This is a jazzy-tinged reflection on what it would be like to be dating an astronaut.” It’s no wonder (unintentional almost pun) the record sounds all over the place, and it’s because it quite frankly is.

After seven years together, West and Vander Gucht are not only musical partners, but romantic partners as well. Despite their long relationship, the album suffers from a lack of chemistry. Their voices, which have blended beautifully before in some of their other works, keep bumping into each other here like in a pinball machine, confined to such small boundaries that there’s nowhere else to go.

Oh Wonder’s ‘No One Else Can Wear Your Crown’ lacks the duet’s usual chemistry

, arrives at the perfect time of year, adding an electronic, playful energy to the gray skies of fall. His record is a constant contradiction of melancholic reflection and whimsical video game-sounding songs, contrasting his previous album 

. The result: surprisingly catchy and effective.

, Rex dials up his use of synth and electronic sounds, which at times lend the record a hypnotic feel. In “Pluto Projector,” the listener almost feels catapulted into space, bouncing back and forth between the cosmos as Rex croons, “And it’s sublime with you my friend.” The playfulness Rex delivers with new sounds, pings, and dings is accompanied by sincere lyricism. He plays up serious topics against an array of cloudy pastel colors, but keeps the tone light with poppy beats.

In “Always,” a blend of a soothing 2000’s R&B song with a strong jazz buildup, Rex sings, “It’s hard to make yourself believe / That it’ll get better when you feel defeated.” Even in the opening track, “10/10,” Rex explains, “I had a year that nearly sent me off the edge / I feel like a five, I can’t pretend.” Rex Orange County’s struggle is weaved in every song, expressing his reluctance to ask for help and even major roadblocks with fake friends.

The album feels conversational throughout, like Rex is constantly talking to one person– perhaps his long-time girlfriend, Thea, who always seems to keep him rooted in times when his head gets cluttered. “Every Way” is a sweet serenade to her, with an opening piano riff slightly reminiscent of Toy Story 2’s “When She Loved Me.” Rex sings, “I care about you, in every way I can.” He addresses time and time again his gratitude for someone sticking by his side for so long and has no shame in letting it be known. In “Pluto Projector,” he also sings, “This right here feels like the honeymoon / When you say my name.”

, Rex posted a small thank-you note on Instagram to his fans and said, “Thank you for making me feel so loved in a time where I have really struggled to enjoy life. I’m in a good place now but the last couple years were really hard. Beyond happy to be out of that period of time but equally sad looking back at it.”

 captures these feelings perfectly in a blend of retrospective and forward focuses. The lyrics have grown up, but the sound has not. In this, Rex highlights his charm with the same revealing lyrics and genre experimentation that enticed listeners in his past projects. Although it is a different sound, Rex still shines through wholeheartedly.

Rex Orange County expresses grown-up themes against a childlike backdrop in ‘Pony’

Atlantic Records UK · September 13, 2019

, entered the scene carrying expectations similar to that of a younger sibling following in their older sibling’s shadow. 

received significant hype after MARINA’s four year hiatus, but its slower, softer successor did not deliver with clean execution.

Whereas “Orange Trees” may be the only song that shines as a result of its acoustic transformation, others like “Superstar” and “Karma” sound like drab copies of the originals. As a result, the EP does not sound acoustic at all, but only turned down a notch.

Although the acoustic EP delivers a more honest and vulnerable MARINA, it also reveals the lack of depth in the original album’s lyrics. Without the distracting, loud synth and booming bass, the lyrics emerge as rather simple and cliche.

In “Superstar,” MARINA recounts, “I love the way we worked so hard / Yeah, we’ve come so far / Baby, look at me, you’re my superstar.” Each line is familiar, a storyline heard time and time again. As these lines repeat throughout the song as part of the chorus, it leaves a tiring effect. The same goes for “True” with “Everybody tells us what to do, do, do / Think they know what’s always good for you, you, you.” Additionally, the repetition in this song is empty and does not emphasize any meaningful points.

“True” reveals glittery piano lilts here and there, which gives the song an almost transcendent feeling. The short sustained notes during the chorus are convincing for a brief moment, but the song is quickly swept up again, making it difficult to appreciate the isolation tactic. By the end of the track, its busyness has increased significantly, with various add ons that just take up too much space.

, MARINA revealed her criteria for EP-turned-acoustic songs was her ease in singing them. In making this safe choice, her distinctive voice merely blends into the backdrop of her music instead of acting as its focal point.

However, the EP’s redeemer arrives in the form of the ever popular track, “Orange Trees.” This track has an even more relaxed presence acoustically, most likely because of its soothing guitar. The song transports listeners onto a beachside resort without any cares in the world. As the last song on the EP, it wraps everything up in one serene sound.

Due to MARINA’s previous success with her acoustic tracks as Marina and the Diamonds, 

 should have helped her return to musical renown. However, the EP does not compare to the likes of her iconic acoustic performances of “Lies” or “I Am Not a Robot.”

Although the effort is present and MARINA’s sound has definitely shifted, it seems like she is trying so hard that any meaningful desired effect is lost on the audience. Each song tries to sound unique and to deliver original elements not heard in 

, but ends up sounding cluttered instead.

Riana Buchman