What does it sound like?:
Maggie Rogers’ third official album, released on 12 April has been in my ears every day since then. I’ve been gradually getting familiar with her 10 new songs, letting them seep in, slowly noticing the differences between them, absorbing the words, noticing musical details.
Like with each of the previous releases, there is a change in musical style. I would characterize them, sequentially, as folk, dance, rock and now MOR/country. This would normally put me off as being bland, and it seemed somewhat like that to me at first – a disappointing selection of songs after the catchy bangers that she strutted out.
But this is Maggie Rogers, and I have found she really rewards repeat listening. It’s now my favourite of hers – a record where the singing isn’t afraid to take centre stage and not hide behind production.
There are ‘tent post’ songs, that are more immediately catchy – Drunk, The Kill, Don’t Forget Me. The 5 songs between those last two to start with, slipped past without grabbing my attention at all, such is the contrasting pop appeal of them.
Apparently all songs were written and recorded in 5 days total, they were recorded in sequence of creation and in interview, Maggie said she was influenced by (listening to a lot of) Rumours and Thriller. I don’t know either album that well, but I’d say I can hear more Rumours than Thriller in the sounds on this recording. It’s a bit pointless a 50-something Brit bloke trying to analyse the songs of a 30 year old US female singer songwriter, but that won’t stop me falling on my face trying. At best I hope I can talk about how the songs make me feel.
It Was Coming All Along. The first song just launches straight into the melody with little fanfare, like it’s a continuation of what has gone before. With a comfortable squidgey bass line, touches of strummed acoustic guitar and drips of realia (a phone call), it’s a tale of agreeable angst – time has passed and she’s not where she was in her early twenties. This seems to set the tone for the whole album – stories set to music of a quarter life crisis where things aren’t perfect, but she’s comfortable and adjusted to that – “ I’m fine, but feel I’m breaking through”. Though they are apparently not autobiographical – more from stories about other people. Who knows? It actually sounds a bit like ‘Overdrive’ the opened to her last album, Surrender. Overall, it feels like an aural hug – it’ll all be OK.
Drunk As the last song fades out, in skips Drunk! A more dynamic rhythmic guitar line introduces Maggie and bass line with a slow verse, then a rushing, words tripping over words, pre chorus, then, bang! – full lungs outburst of chorus. She’s done this on previous albums (‘Want Want’, ‘Shatter’) to more powerful effect. But by being less punchy, it feels like a more tender expression. The timbre in her voice sounds alternatively angry, desperate, resigned, but also joyous and triumphant. The song crowds in multiple emotional expression into 3 minutes 24, then ends with insistent drumming and a closing whoop from another voice.
So Sick of Dreaming A gentle sing song melody ushers in a caustic tale of some enormously vain no mark who has let the singer down, and who she walks away from. Quite a conventional song, apart from a spoken word middle eight about getting stood up in a restaurant and relishing the come-uppance. I’m not sure if this is more or less annoying than the skits you get on hiphop records. After a few listens, I hardly notice it is there.
The Kill Now for something special. This is Maggie on full power, couplets that rhyme beautifully, a driving beat, and a song that builds and build to the chorus. And to boot, a song of reflection on the push and pull of infatuation and passionate feelings, though definitely rooted to the past.
If Now Was Then Continuing the theme of looking back at the past, though this time somewhat timid and maudlin in its turning over memories of a relationship lost. The timidity is burned through with an energizing mantra repetition of realization and apology – ‘you can’t take it back’ strides out of the backdoor of the song, leaving a very still silence.
I Still Do In pops a voice and piano for a song of mature reflection, the deep tones of the stage-setting opening verse ending with falsetto and a clear evocation of love. Meditations on love repeat through the song – a bare, vulnerable croon softened by piano chords fading out.
On & On & On Not sure about this one – probably the one I’ve least listened to – the chorus dominating the rather compact, cryptic verses – ”And it goes on and on and on when you hear this song and it plays on and on and on and on all along” – and ends a full minute before other songs on the album. ” I’ve played it back a million times and always wish that I was wiser”. It’s probably a musical joke on the listener.
Never Going Home Maggie out with the girls clubbing. I feel like a fly on the wall at a scene I will (could) never witness. This a rowdy number – I’m. NEVER Going Home! So there. A song for teenagers at heart – people who don’t want to grow up.
All the Same. Possibly my favourite song on the album. It’s Maggie’s Nick Drake moment. ‘ In the room’ gentle guitar stumbling and occasional piano chords accompany a much slowed-down song. Stillness and sparseness – a song of acceptance. By rights, this should be the final song on the album, a peaceful fading out after successive tales of the past.
Don’t Forget Me But it isn’t. The album closes with the most accomplished, assured and confident song of all. Among recounting how friends are settling down, this is a resonant calling out of defiant demands from future partners – do what you like, but don’t forget me! A siren calling country song – you can hear the twang in her voice.
And then, if you’ve got the album on repeat it, it rolls naturally into the first song again
What does it all *mean*?
When I first started listening to this album, the image of a set of poster paints came to mind. Distinct discs of colour, some vibrant, some light, some dark, some pastel. Each song contains so much in it – the lyrics, the singing style, the choice of musical accompaniment – all intense and compact. It’s only with repeat listening that the sound gets spread out and stains the canvas – words/phrases become ear worms. Rhythms infect the body, even when the song isn’t playing. Even the gentler songs make their mark.
This album is a grower for me – something I can listen to again and again, hearing something new each time, Maggie’s voice the constant companion and conveyor of her spirit. It’s an album to feel, more than to understand, or to dance to. She’s imprinted her emotions into the songs, and they weave their way into my subconscious.
Goes well with…
A soak in a bath, dressing up to go out clubbing, a drive up country in a leather jacket and white T-shirt, a fraught night in with the TV on and the curtains shut – the options are endless
Release Date:
12 April 2024
Might suit people who like…
Dido probably (joke)
salwarpe says
Lando Cakes says
I hadn’t been aware of Maggie Rogers until her recent interview in the New Yorker, which intrigued me enough to have a listen on Tidal. I like what I’ve been listening to. And this review too.
salwarpe says
Thanks, Lando! This is my second Maggie Rogers record review – I’ve been following her since seeing her on the TV at Glastonbury 23. Major label and getting good coverage, (but clearly not in the same league as Taylor Swift). I think she’s a good thing to be celebrated.