2023-11-29 05:24:16
Samia Najimy Finnerty wants the promise of the best moments The Baby with her second album Honey Although it can’t be done, it still works surprisingly well somewhere between (Phoebe Bridgers) worship and (Billy Eilish) tribute.
Looking back, there are primarily selective highlights from Samia’s 2020 debut album, especially the superb single Big Wheel remembered. At Honey It will probably only be a little different: what should last this time is primarily the ambient slow-motion minimalism of Kill Her Freak Outwhich manages the balancing act between intimacy and aggressiveness with a smart hook, as well To Me It Was, a knee-jerk indie folk miniature that ultimately descends into a bittersweet drive. The finale of the loose, relaxed title song will also leave its mark, at least in the medium term, by allowing indie rock to be absorbed into the communal feeling of a catchy tune Breathing Song, which, as a trauma therapy in autotune until the cut, begs for an exemplary reduction, may even be important for many people.
In this aesthetically well-versed spectrum – that is, strictly speaking only von Punisher bis Happier Than Ever reaching – the surprisingly reverent and introspective movement moves Honey fundamental, the necessary substance to establish one’s class above the running board, sometimes more, sometimes less: For Samia, ambition currently does not mean wanting to grow beyond her idols, but rather showing greatness in their shadows.
Not a bad approach: the piano miniature Pink Balloon cultivates a contemplative melancholy and Sea Lions restrainedly indulges in the non-committal synthpop soft focus over sad keys. And Nanana sways almost like Christmas, lying in gentle arms, before the casual banter Dream Song a relatively unspectacularly modest finale for this second work.
The real problem of Honey However, the record as a whole, like its predecessor, appears half-baked – this time because the faster moments tend to be trivial.
Specifically, the pleasant, built on a guitar and calm rhythm, is convincing, Charm You certainly, but it falls Mad at Me with its gentle 80s beat and latently funky vocoder R&B my father said out of the ordinary, while the similarly inclined Amelia Not bad as non-committal summer synthpop, but it just doesn’t matter.
However, the fact that Samia overall falls short of her potential is bearable: she underlines her qualities with a clear voice, bittersweet songwriting and lyrics born of vulnerability (also through self-sabotage) (and therefore receives the following rounding up of points in the rating), Even if the edges of the production, which tends towards wholesomeness, might easily be hatched rougher and more individually.
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