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Everything on Hold On Baby feels so easy that its missteps are particularly overbearing: “Little Bother,” a collaboration with New Jersey musician Fousheé, feels too similar to all the other emo revival songs that have shown up on pop albums over the past couple of years.
#The girl who sees scents last episode recap update
It’s rich with little details that make the whole thing feel alive, like the goofy, overdriven synth that opens “Too Bad” or the crunchy, stomping drums, played by the late Taylor Hawkins, that power “Let Us Die.” The unfussy orchestration of “Winter Is Hopeful” feels like a verdant update of Cheap Queen’s humid atmosphere it floats in and out of focus like the scent of jasmine on a spring breeze. “Change the Locks,” one of a handful of songs produced with Aaron Dessner, explodes from pleading minimalism into booming, gritted-teeth arena rock, even though one of its primary tensions is impossibly small: “Losing your mind over something I wore/Just ’cause it’s yours.”ĭespite its subject matter, Hold On Baby is far from dour. The plush, weightless love song “Winter Is Hopeful” curdles its sweet nothings (“I’m always thinking, thinking, thinking of you”) with ribbons of acid: “But you never believe it.” Straus practically whispers the lyrics it feels like she’s practicing lines from across the room rather than actually addressing the object of her desire.
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On “Hold On Baby Interlude,” they describe themselves as “a chipped tooth with the nerve exposed,” and that queasy tension pervades the album. Hold On Baby isn’t a breakup album instead Straus finds inspiration in the tensions that arise in a long-term relationship. The energizing frisson that Straus found on Cheap Queen has been supplanted by anxiety and despondence. Hold On Baby is a more solemn record than its predecessor. She presides over the affair with a cool hand and a keen awareness of when to pull back-the restrained elegance of someone who’s spent most of their life hanging around studios. These references never feel winky or obvious, in large part because Straus’ own sense of mood-their fondness for warm tones and spacious atmospherics that can turn cold and claustrophobic in a second-always takes precedence.
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Working alongside a murderers’ row of mainstream-indie heavy hitters including Aaron and Bryce Dessner, Ethan Gruska, Shawn Everett, and Mark Ronson, Straus pulls influences liberally but never thoughtlessly: A Strokes-y guitar line lopes through “Cursed,” while “Crowbar” nods to Sufjan Stevens’ fluttering piano ballads the piano at the beginning of “Dotted Lines” recalls Rostam Batmanglij and Ariel Rechtshaid’s work on Vampire Weekend’s Modern Vampires of the City, and “Sex Shop” feels of a piece with the alienated sexuality of St. If Cheap Queen’s palette was ambiguously vintage-all old-school soul flourishes, redone as to slot in easily somewhere between Troye Sivan and Lorde- Hold On Baby firmly positions Straus as someone who came of age in the 2010s, when indie rock was hitting its mainstream peak. She sounds even more like herself: More flexible as a vocalist, more cutting as a lyricist, more confident in her own power to bridge gaps between disparate styles. Like Cheap Queen, Straus’ second record Hold On Baby is urbane and self-possessed, the work of a keen-eared musician coming into their own as a producer and stylist.