Album Review: UGLY - slowthai

UGLY is the newest LP from UK rapper, singer, and songwriter Tyron Frampton, known more commonly by his stage name ‘slowthai’. His third full-length album to date, UGLY demonstrates clear artistic evolution since the releases of his debut Nothing Great About Britain and sophomore TYRON. While both compelling and impressive releases in their own rights, these projects tended to lack the tangible and unfiltered authenticity that UGLY brings to the table so well. slowthai portrays his emotions and thoughts in a raw and rugged manner, inviting his listeners along the dark path he finds himself on throughout this project’s narrative, which is unsettling from the start.

At just over 38 minutes in length, this project has no time to waste, and immediately sets the tone for what’s to come with the opening track “Yum”. A deep dive into his psyche, slowthai depicts his descent into an addiction-fueled mania on this track, while also crying out for help with lines like “I’ve been lacking motivation / I need an intervention.” The song also features more live instrumentation that his previous works, which was a welcomed addition sonically for me. “Selfish” is another distortion-heavy track that backs slowthai’s complicated relationship with selfishness — something that he uses to better himself, but also something he doesn’t want others to associate with his character. “Sooner” is a milder track compared to the two that precede it, with punky group vocals that differ from the intimately intense aesthetic that had been established up until this point in the tracklisting.

“Feel Good” is another example of the cognitive dissonance that slowthai’s experiencing on this project, with lines like “I feel so happy that it hurts deep in my sides / Yeah, it feels so good when you feel alive,” which is direct contrast to the sentiments of tracks like “Yum” before it. This track serves as an oasis of positivity from those surrounding it, but knowing that it was written as more of a mantra to exit a negative headspace adds a dark irony to the lyrics on this song. “Never Again” is a highlight for me — an impressive narrative that tells the story of returning home to rediscover an unrequited love that couldn’t be saved before tragedy struck. The bass and drum-backed instrumentation supports his rapping perfectly here. “Fuck It Puppet” is more of an interlude that features more of slowthai’s older sonics, and the title term to describe intrusive thoughts is just wonderful.

“HAPPY” is probably the most important song on the album, featuring the important message that nothing matters except for your happiness in life. “I would give anything for a smile” is an immediately-memorable line that stuck with me. The title track “UGLY” has various impressive meanings, primarily serving as an acronym for “You’ve got to love yourself,” especially when the world is actually ugly. slowthai has stated that this song was written at the beginning of the Russian invasion of Ukraine, and is meant to be a reminder that darkness will always exist in the world, but what we do despite that darkness is what matters. “Falling” is the understanding that this effort is sometimes done in vain, because sometimes nihilism and dissociation is inevitable in one’s life, but that that’s okay too, within reason.

“Wotz Funny” discusses class conflict, exploring the difference in perspectives between the haves and the have-nots in society. This is a unique track that I’d love to hear slowthai describe more in-depth, as not all of the narrative elements connect with me on a personal level. But maybe that’s the point of the track in the first place. “Tourniquet” is probably my favorite track sonically on the album, with an ambient, droning, and ethereal quality that I tend to gravitate toward in music. The metaphor of this track is that sometimes you need to burn bridges or amputate parts of your life to escape vicious loops and cycles and to escape the version of you that you’ve outgrown. slowthai’s unfiltered and visceral delivery throughout the track is nothing short of mesmerizing. “25% Club” is an excellent closer that puts a bow on this revealing and self-exploratory project, where slowthai challenges the idea that externality will lead to us feeling complete. Feelings of being fulfilled, if possible at all, will come from within, not from the outside world — and your happiness is your responsibility. These conclusions are profound, thought-provoking, and discovered through the emotionally tormenting work that slowthai did to create this project.

Creative evolution is one of the most exciting and compelling characters that I look for in upcoming musicians. Since his debut record, it was apparent that slowthai has what it takes to create and release quality albums. But UGLY has proven that he’s willing to take off the mask and grant his audience a look into his unfiltered, genuine, and endlessly self-improving psyche, no matter how uncomfortable that may be at times. That perspective and vulnerability is what I enjoyed most about this fantastic project from slowthai, who is young enough that there’s no telling where he goes from here artistically.

Favorite tracks: “Yum”, “Selfish”, “Never Again”, “HAPPY”, “UGLY”, “Falling”, “Tourniquet”, “25% Club”

SCORE: 7/10

Album Review: Desire, I Want to Turn Into You - Caroline Polachek

After the release of her 2019 album Pang, fans and critics alike anticipated (and hoped) that Caroline Polachek’s evolution as a progressive pop artist was just starting. Her attention to detail, thorough production skills, and memorable melodies were already strong at that point, but her untapped potential still seemed so high even after releasing what many considered a very solid project. The earliest elements of the rollout for her 2023 album Desire, I Want to Turn Into You signaled that these hopes were being fulfilled, and that Polachek took time to grow and channel her artistic vision to a new level. On Desire, Polachek’s best album yet, we watch an incredibly intelligent artist unpack and tangle with one of human’s most complicated state of emotional longing.

The project’s opening track and lead single “Welcome To My Island” establishes a playful mood, but its lyrical content serves as a self-aware overture that tackles Polachek’s internal monologue head on. “Pretty In Possible” establishes many of the project’s sonic motifs without a clearly-defined structure, and its strings in the back half introduce a melancholy that we’ll continue to see throughout the project. “Bunny Is A Rider” is a personal highlight for me — backed by a playful summertime instrumental and slick bassline, this track serves as an anthem for independence and unabashed individuality. Its layered vocals and whistled deliveries are carefully balanced without becoming overbearing. These playful vibes continue onto “Sunset", a timeless flamenco-inspired bop that introduces a flare to this project that differentiates it from many of the mainstream pop albums being released right now.

“Crude Drawing Of An Angel” has a cleverly-written, slower melody that leans on its multiple uses and meanings of the word “draw”, which signals Polachek’s creativity as a songwriter. She has described this song as “scorny” — both scary & horny — which is an apt description, but is also one of the more forgettable tracks on the album. “I Believe” is dedicated to the late SOPHIE, and pays homage to the great pop divas that have continued to inspired Polachek over the years. Her vocal performance on this track is continually impressive. I didn’t expect “Fly To You (feat. Grimes and Dido)” to work as well as it did, but it incorporates its features unique perspectives on the idea of closure very fittingly. “Blood and Butter” is a psychedelic track that again pays tribute to Polachek’s inspirations, and is one of my favorite ethereal songs on the project.

“Hopedrunk Everasking” and “Butterfly Net” both slow the album’s pace, but not to its detriment; instead, these tracks give a more intimate and revealing look into Polachek’s softer side. “Butterfly Net” is a particularly emotional narrative that ponders our ability to recall and conjure what we love most about those we care about even when they are not present. “Smoke” is a metaphor for denial, or the choice to intentionally downplay clear obstacles that we face, and paves the way for the album’s brilliant closer. “Billions” is a wonderful, all-encompassing final track that serves as the selfless counterpart to the opener’s selfish outlook. This track reassesses many of the themes find throughout the rest of the album, such as sensuality, abundance, individuality, and connection, ending with an amazing children’s choir that fades to water to conclude.

Desire, I Want to Turn Into You is a very unique project both sonically and thematically. While many of its tracks follow conventional pop structures and standards, the intricate details and subject matters discussed are what differentiate it and set it apart as a special project. All of these successes stem from Caroline Polachek’s creative genius, vocal talent, and emotional maturity. I can’t wait to hear where she goes from here.

Favorite tracks: “Welcome To My Island”, “Pretty In Possible”, “Bunny Is A Rider”, “Sunset”, “I Believe”, “Blood and Butter”, “Butterfly Net”, “Smoke”, “Billions”

SCORE: 8/10

Most Anticipated Albums of 2023

2022 was one of the best years of music in recent memory. The releases of incredible albums like Black Country, New Road’s Ants From Up There, Weyes Blood’s And In The Darkness, Hearts Aglow, and Big Thief’s Dragon New Warm Mountain I Believe In You, among many others, set a high standard for what music fans should expect in a given year. Despite a relatively uneventful January, 2023’s confirmed and likely upcoming releases promise another impressive year in all genres — including some that stand out as particularly intriguing and compelling.

February will bring the release of Gorillaz’ highly-anticipated Cracker Island, which appears to be a concept album packed full of inventive production and socially-conscious lyricism based on the project’s fantastic lead singles. The title track “Cracker Island (feat. Thundercat)” establishes the album’s themes over an addicting melody, “New Gold (feat. Tame Impala and Bootie Brown)” is a hypnotic super-hit in the making, and “Baby Queen” touts dreamlike production that supports its ethereal subject matter. I can’t wait to ingest this project from beginning to end, unpacking its commentary and enjoying the group’s unmatched signature sound along the way.

The only Phoebe Bridgers news more exciting than a solo announcement is a boygenius album announcement, which is exactly what fans received earlier this month. Expected on 03/31, the group’s debut studio album the record promises intricately composed singer-songwriter anthems, just like the sample tracks released by the group so far. “$20” features Julien Baker’s angsts, “Emily I’m Sorry” gives us a dose of Bridgers’ heartbreaking and ambient vocal talent, and “True Blue” offers Lucy Dacus’s earnest and heartfelt depiction of unwavering love. I fully expect this project to break my heart, put the pieces back together, and then destroy it yet again — I would expect and hope for no less from this indie supergroup.

On the other end of the sonic spectrum, it’s expected that eccentric and experimental rappers JPEGMAFIA and Danny Brown will both be releasing projects this year, and it’s possible based on social media hints that the two will be releasing a collaborative project, as well. Brown’s Quarananta is overdue, and promises to deliver more mindblowing production after his two most recent projects. JPEGMAFIA’s dedication to his craft, all the way down to his individualist approach to songwriting, continues to evolve. These are two of the most unique artists in the industry, and I hope they continue to push the boundaries of rap in 2023.

“Free Yourself”, a loose single after the release of her wonderfully disco 2020 album What’s Your Pleasure? teases the return of Jessie Ware, whose next project is toward the top of my most-anticipated list. Her 80s-inspired aesthetic is infectious, dance-inducing, and exactly what I’m looking and hoping for to brighten spirits this summer. While no project has been confirmed yet, I expect Ware’s next album to release later this year.

While there are many other albums and artists that I’d love to hear from in 2023, these are the projects I’m most looking forward to. Will Fiona Apple follow up her 2020 masterpiece Fetch The Bolt Cutters? Is Tyler, The Creator going to continue his pattern of releasing new projects every two years? Will Frank Ocean return from the void and bless us with another life-changing opus? Time will tell. What we do know now is that the future of music is bright, and while we’re still enjoying the best of playlists from this decade so far, new jams are right around the corner.

Top Albums of 2022

After another year of reviews, active listening, and a plethora of new releases, it’s finally time to yet again recap the best albums of the year. 2022 was one of the most prolific and impressive years of music in recent memory with great albums releasing across all genres, making it incredibly difficult for me to narrow my selection down to only 10 projects. After careful consideration, I’m glad to say my list is complete. Before we jump right into the long-awaited selections, I need to shout out some fantastic records that didn’t quite make this year’s cut, but are absolute must-listens.

Here are my honorable mentions for 2022: Cheat Codes is Danger Mouse and Black Thought at their most cutting and nuanced, providing insightful bars over scrumptious instrumentals. (SCORE: 8/10.) Most recently, SZA’s triumphant return sophomore album SOS showcases her abilities as both a rapper and R&B superstar, even if the project suffers slightly due to its overextended tracklist (SCORE: 8/10.) Pusha T’s It’s Almost Dry serves as a statement to the rest of the hip-hop community that Pusha doesn’t mince words, but also that Pharrell and Ye’s production are still phenomenal (SCORE: 8/10.) The Weeknd’s Dawn FM demonstrates Abel’s willingness to evolve and grow, leaning more into 80s synth ballad aesthetics than ever before (SCORE: 8/10.) Father John Misty’s Chloë and the Next 20th Century is a theatrical and classy pastiche that both criticizes and praises the genre it pulls its inspiration from (SCORE: 8/10.) Conway the Machine’s God Don’t Make Mistakes features some of the most revealing and vulnerable lyricism that rap has seen in a very long time (SCORE: 8/10). Perfume Genius’s Ugly Season uses experimentation to its advantage over its entire tracklist, pairing perfectly with the dance piece that it’s meant to accompany (SCORE: 8/10.) Finally, Natalia Lafourcade proves yet again that her balladry and poetic lyricism are unmatched on the gorgeous De Todas las Flores (SCORE: 8/10.) I loved every single one of these projects, but not enough to call them one of my 10 favorite albums of year - a prestigious title belonging only to the best of the best.

10. Once Twice Melody - Beach House

Once Twice Melody is just as much of a feeling as it is an album. Its palpable, gleaming instrumentation and panoramic vocal layering encapsulate its listener into a warm, soothing array of tracks. Surprisingly, the album remains cohesive without overstaying its welcome with a runtime of almost 90 minutes. Beach House’s aesthetic is well-established at this point, and Once Twice Melody doesn’t challenge that status quo. Instead, their sonic universe is expanded over 18 dazzling songs, with “Pink Funeral” and “ESP” serving as standouts for me. (SCORE: 8/10)

9. Melt My Eyez See Your Future - Denzel Curry

Denzel Curry has proven time and time again that he has what it takes to keep up with the best rappers in the world. On Melt My Eyes See Your Future, though, Curry proves for the first time that he’s capable of true self-reflection. A cinematic and cohesive experience, this album utilizes its instrumentals, features, and Curry’s bars excellently to respond to a world in strife while tastefully pulling inspiration from other versed creators and artists. “Walkin” and “Ain’t No Way (Feat. 6LACK, Rico Nasty, J.I.D, Jasiah, Kitty Ca$h)” are the two songs I return to most often on this inventive and boundary-pushing project. (SCORE: 8/10)

8. I Didn’t Mean To Haunt You - Quadeca

I was initially very surprised by the lead singles that led up to the release of I Didn’t Mean To Haunt You. While Quadeca had previously released promising tracks like his viral and acclaimed “Sisyphus”, his foundations as a YouTube rapper clouded my judgement of his artistic validity. Any of those doubts were quickly extinguished with the release of his newest album, which is told from the perspective of a ghost who is grieving those he has left behind. The harrowing beauty, haunting creativity, and heartbreaking lyricism and instrumentation on this project are entirely unique and unlike anything I’ve heard before. “Born Yesterday” and “Knots” are the two tracks I return to most often, but this entire project is an experience that will leave any listener in contemplation. (SCORE: 8/10)

7. NO THANK YOU - Little Simz

Firstly, we need to acknowledge that Little Simz has made all music publications re-think when they schedule and release their end-of-year lists. The follow-up to last year’s stunning Sometimes I Might Be Introvert, NO THANK YOU comes just over a year after Simz’ previous release. Its lightning quick rollout and 10-song tracklisting were promising, but part of me expected a project of SIMBI B-sides. I couldn’t have been more wrong. NO THANK YOU is just as well-thought-out of a project as anything Simz has released so far, albeit not as conceptually thematic. Instead, stripped back but catchy instrumentals allow Simz to deliver some of the most concise, confident, and genius bars I’ve heard this year. NO THANK YOU feels like both a victory lap and a “fuck you” to anyone has doubted her unparalleled skill along the way to fame. The entire project is a must-listen, but so far my favorite tracks are “Gorilla”, “Heart On Fire”, and “Broken”. (SCORE: 9/10)

6. Hellfire - black midi

English rock trio black midi are an indescribable bunch of dementedly talented, shockingly young artists. Lead singer Geordie Greep is the prime example of this youthful spirit, confidently delivering impressive vocal performances throughout the group’s latest album Hellfire. This album isn’t just thematically chaotic or random, but instead has been carefully crafted and constructed to transport its listener via its many ornate and overwhelming soundscapes. The technical and musical prowess needed to create a track like “Sugar/Tzu” is unmatched. The inventiveness necessary to come up with a track as demonic as “Welcome To Hell” is awe-inspiring. black midi is nothing if not different, but this unconventionality is exactly what makes their releases some of the most enticing in all of music right now. (SCORE: 9/10)

5. The Forever Story - JID

Although J. Cole has released some classic hip-hop albums, it very well may prove true that his final legacy will be his innate ability to find and elevate undiscovered talent. Dreamville’s roster is quickly becoming one of the most skilled labels in the industry, and that is in large part due to the meteoric rise of Atlanta’s own JID. The Forever Story is one of the most technically impressive rap performance albums in the past decade, with each of JID’s verses quickly becoming rainbows when his rhyme schemes are highlighted. Full of both bangers and introspective cuts, The Forever Story is the perfect mix of entertaining and insightful. Mark my words: JID will one day be a household name, and for good reason. (SCORE: 9/10)

4. Mr. Morale & The Big Steppers - Kendrick Lamar

Hip-hop’s biggest and brightest release of the year belongs to Kendrick Lamar’s Mr. Morale & The Big Steppers. The Pulitzer-prize-winning artist made his long-awaited return to music with this project’s release and its attached “The Heart Part 5” music video. Like all of his projects up until this point, Kendrick’s newest album was an artistic left hook worthy of endless discussion and dissection. Ultimately, it’s an album dedicated to addressing and tackling trauma both recent and intergenerational. A chronological narrative and demonstrates the work needed to grow, evolve, and heal, Kendrick is doing the monumental task of destigmatizing mental health awareness in his community. Sonically, this album is often just as ear-catching and immersive as Kendrick’s best works, with “Father Time (feat. Sampha)” and “Savior” proving the most compelling selections months after this incredible project’s release. (SCORE: 9/10)

3. Dragon New Warm Mountain I Believe In You - Big Thief

That title is still a mouth-full. Big Thief’s Dragon New Warm Mountain I Believe In You was the most surprising album that released in 2022 for me. 20 songs and 80 minutes long, this indie folk epic seems destined to eventually become stale, but instead continually reinvents itself and offers distinct storytelling, unburdened instrumentation, and ambitious beauty. Its sprawling tracklisting spans from humorous and joyful to reflective and sorrowful, laced with humorous quips and insightful reflections. Adrianne Lanker’s vocal delivery is hypnotic, and the band’s ability to cover almost every topic under the sun isn’t lost on me. (SCORE: 9/10)

2. And In The Darkness, Hearts Aglow - Weyes Blood

The second release of a confirmed trilogy and follow-up to Titanic Rising, Weyes Blood’s And In The Darkness, Hearts Aglow is everything I hoped it would be and more. Frontwoman Natalie Mering is quickly becoming a baroque chamber-pop icon, with an instantly-recognizable voice and exquisite, poetic lyricism. Titanic Rising was incredibly impactful at the time of its release because it seemed urgent, pressing, and a call-to-action to combat a foreboding future. That then hypothetical is now being realized on And In The Darkness, Hearts Aglow, which finds Mering and the listener picking up the pieces of the past three years. Angelic, swelling instrumentation is found on every track, no more so than on “Children of the Empire” and “God Turn Me Into a Flower”, the two standouts among many great songs found here. In any other year, this album would likely take the #1 spot on my list, and I can’t wait to see what Mering has in store for us with future releases. (SCORE: 10/10)

1. Ants From Up There - Black Country, New Road

When looking back at my top albums from each year so far this decade, I’ve noticed a pattern. The best of the best has a transcendent quality that makes each of these projects larger than life, greater than the sum of their parts, and elevated by the circumstances that surrounded their releases. For Fiona Apple’s Fetch The Bolt Cutters in 2020, it was the brutishly honest and raw, pent-up nature of her sonics in response to the beginning of the COVID-19 pandemic that made it such a special and memorable listen. For Floating Points, Pharoah Sanders, and the London Symphony Orchesta’s 2021 album Promises, it was the timeless motifs, ethereal quality, and realization that a collaboration of this magnitude was a once-in-a-lifetime opportunity, which was confirmed this year after Pharoah Sanders’ death. Ants From Up There is a perfect album not only because every note is intentional, powerful, and momentous, but because we will never hear the band who made it in the same form ever again. Just days before the project’s release, the band’s lead vocalist Isaac Wood announced his departure from the group, citing mental health as a primary factor that contributed to his difficult decision. With this in mind, many of the album’s themes garnered a new gravity that laced the triumph of the project with an overwhelming sadness. “Concorde” and “Basketball Shoes” are my favorite tracks here, if I had to choose, and demonstrate these themes perfectly. Simply put, Ants From Up There epitomizes bittersweetness. This album reminds us that we grow apart, that life is complicated, and beauty is often confined to the inherently finite nature of our existence. This is not only my favorite album of 2022, but my favorite album of this decade so far, and it isn’t close. (SCORE: 10/10)

I used to think it was silly when I called music one of my hobbies. Everyone enjoys listening to music - it’s a part of the human experience. But making that experience active instead of passive is one of the most invigorating and fulfilling decisions you can make as a listener. Great art wants to be understood. It wants to be analyzed, considered, discussed, and shared with others who will give it that same love and attention it deserves. As an active listener, 2022 has been one of the most incredible years of music in my life, and I’ve looked forward to sharing my best-of list all year. I hope you’ve had the chance to enjoy these projects, or whichever projects have spoken to you, all throughout 2022, and let’s plan to do the same in 2023.

Album Review: And In The Darkness, Hearts Aglow - Weyes Blood

Natalie Mering, known professionally as Weyes Blood, is no stranger to musical accomplishment. The release of her 2019 album Titanic Rising felt like just that — an unprecedented and unique ten track experience that palpably evoked a holistic doom on the horizon. The first album of a confirmed trilogy, Titanic Rising’s nearly flawless tracklist enraptured its audience in beautiful layers of multi-instrumental baroque chamber pop. Mering’s distinctive yet traditionally excellent lead vocals on the project were only made more effective by her compelling, wise lyrics and storytellings throughout. Most importantly, however, this first of three conceptually-related projects did its most important job by leaving its listeners ready for more. After three tumultuous years, Titanic Rising’s sequel And In The Darkness, Hearts Aglow has arrived and expanded upon the musings introduced by its predecessor, somehow even more rich, refined, and heartfelt than before.

One of the few silver linings to come out of the COVID-19 pandemic was the plethora of expressions and interpretations of such challenging times from talented musicians and artists alike. Titanic Rising, as occasionally upbeat as it was, prominently imposed a sense of incoming strife. As listeners, we were only able to listen to Mering’s calm before the storm and are now watching her assess the damage of the uproarious waves we all endured in the time between projects. And In The Darkness, Hearts Aglow wastes no time before embarking on the journey of self-reflection, as its opening track “It’s Not Just Me, It’s Everybody” reaches the conclusion that everyone else’s lived experience is just as valid to them as ours is to ourselves. Mering has a tendency to subtly deliver deeply insightful or prophetic lyrics throughout her discography, and one of the greatest examples of that is found on this track with: “Living in the wake of overwhelming changes / We’ve all become strangers / Even to ourselves.” By looking inward so deeply and earnestly, Mering is able to draw conclusions and further relate to the collective trauma endured in recent memory.

“Children of the Empire” is a sonically ornate and grand opus that almost inspires rebellion and revolution in its listener, with its chilling chorus “We’re long gone in that eternal flame / Trying to break away from the mess we made / We don’t have time anymore to be afraid.” This track evokes a sense of quiet recognition that while the odds may be stacked against us, there is no time to sit in recognition of that fact if we want to change it. “Grapevine” is next, a track whose title cleverly nods to California’s Interstate 5 and suggests an intertwined, complicated relationship that is discussed throughout. “California’s my body / And your fire runs over me” further explores this double meaning, and if you aren’t sold by now, just wait for the instrumentation found on the song’s chorus. Additionally, this song is perfect for anyone who enjoys disturbing visual accompaniments to seemingly sentimental songs.

“God Turn Me Into a Flower” is next, and not much can be said to adequately explain the beauty of this ascendant and poetic track. Backed only by light, ambient synths, Mering’s performance truly shines here, with biting lyrics found throughout, none more so than “You shatter easily and can’t pick up all those shards / It’s the curse of losing yourself when the mirror takes you too far.” I can easily see this becoming one of Mering’s most acclaimed and iconic songs.

The album’s title tracks are split in two, with “Hearts Aglow” preceding “And In The Darkness”, a solely transitional interlude that introduces the album’s back half. “Hearts Aglow” depicts the leap of faith of trust in a relationship by likening it to the heights of a ferris wheel. “You can’t control hearts aglow / I’m staring at that black water down below / Knowing I could fall if I let go” are the standout lines here, as this track begins to introduce the idea of choosing love in the face of the difficulties of life. “Twin Flame” is likely Mering’s most intimate look at relationships to date, further exploring the vulnerability needed to truly see and be seen by another. This song’s ‘80’s influence is clear and executed incredibly well — yet another example of her team’s attention to detail and skillful production.

“In Holy Flux” is another necessary reprieve from the deep dives this project encourages its listener to take, serving as a two-minute interlude that leads into the album’s final two songs. “The Worst Is Done” is one of my favorites here, as it sarcastically comments on how just because we’ve somewhat made it through the pandemic, not all has been fixed. If anything, more may be broken now than ever before. “But they say the worst is done / And it’s time to go out and see everyone / They say the worst is done / But I think it’s only just begun” perfectly expresses the skepticism many have as they view a world that has “healed” so misshapenly — there’s still so much work to do. “A Given Thing” is our closer, a piano-backed ballad that allows Mering’s gorgeous vocals to come to the forefront of our final track. The song centralizes on the theme of “love everlasting,” unconditional affection that survives all. A powerful closer, this track suggests that Mering’s perspective on the future may not be so grim after all, but instead optimistic and more hopeful than one could have expected.

After the release of Titanic Rising, many would have been forgiving if Weyes Blood had peaked musically and artistically. An album that beautiful is more than the life’s work of many other talented artists. Yet with And In The Darkness, Hearts Aglow, Mering has proven that her art is truly an expression of her own growth and maturity, as authentic and ever-evolving as she is. The vision needed to execute a trilogy of cohesive and interrelated albums is unimaginably disciplined and talented, and Mering has proven she has what it takes to do so here. Even better, however, is how triumphantly And In The Darkness, Hearts Aglow stands on its own, even if it wasn’t attached to other projects. It goes without saying that the trilogy’s concluding album cannot come soon enough — it’s time for Weyes Blood to become a household name.

Favorite tracks: All

SCORE: 10/10