BY: JOSEPH DEBELL, OPINION ASSIGNMENT EDITOR
Joe rates “Bewitched” 4/5 stars
photo courtesy of @laufey on Instagram
stars courtesy of Wikimedia Commons
Even though Laufey’s sophomore album “Bewitched” needs a little polishing, it deserves its flowers.
The recent album from the Billie Eilish-endorsed artist combines modern pop and 50s crooning jazz with classical compositions. Though Laufey’s technical prowess shines throughout this record, she sometimes struggles to separate herself from her inspirations, which Laufey conveniently compiled into a playlist and shared.
The playlist includes many critically acclaimed artists from the 50s, such as Chet Baker, Ella Fitzgerald and Bill Evans Trio. When listening to the record, it’s obvious that she is emulating the sounds of her inspirations. That emulation is where all my compliments for “Bewitched” lie. But it’s also the source of my complaints.
Laufey adopted an old sound and isn’t adding much change or flair. However, she nailed the sounds of the artists she is referencing, so it works.
Laufey’s cover of “Misty,” originally composed by jazz pianist Erroll Garner and later covered by Ella Fitzgerald, is one of many models for how creative her vocal delivery can be on songs modeled after her inspirations. What makes this track stand out creatively, despite being a cover, is how much Laufey’s vocals sound similar in delivery to songs like “Time After Time” by Chet Baker. Even though the song was covered by her inspirations. She also accomplishes a unique cover by refusing the spotlight from the piano. Rather, the piano keeps it simple while following Laufey’s gentle, trumpet-like crooning — reminiscent of much of the material on “Chet Baker Sings.”
However, The album’s concept isn’t all about sentimentality.
Lyrically, Laufey delves into themes of heartbreak and self-discovery, all while maintaining a balance between storytelling and overwhelming emotion. “Promise” is a cut that summarizes the themes of the LP by employing sorrow and indecisive lyrics, all while deftly unraveling the pain of a breakup.
“No matter how long I resist temptation/ I will always lose/ It hurts to be something/ It’s worse to be nothing with you”
Some of the production on the LP is layered, but none as layered as the song “California and Me” as it includes the Philharmonic Orchestra. Most of the production on this song sounds like some of the deeper cuts from Frank Sinatra’s “In The Wee Small Hours” — specifically the moments that have climaxes and the abundant arpeggios.
The most unflattering song on the record by far is “Lovesick.” The melody when Laufey belts “When the gold rays” is so derivative of Ed Sheeran’s “Photograph” that you could sing the hook while Laufey continues her singing.
While some songs remind me of her inspirations, the majority of the songs don’t have this issue. They show why Laufey stands out as a pop artist today.
debelljb@bonaventure.edu
