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Margaret Glaspy, Devotion ****
Caroline Rose, Superstar, ***1/2
Margaret Glaspy’s additional anthology begins with a abrupt blow of vocoder that recalls the statement-making aperture to “Oh, What a World,” a highlight from Kacey Musgraves’ 2018 anthology Golden Hour. Musgraves’ synth-country blockbuster provided a arrangement for how roots-based songwriters can strive for avant-garde pop appetite after sacrificing songcraft.
Devotion, the latest from New York singer-songwriter Glaspy, is one of the best fully-formed efforts to appear out in the deathwatch of Golden Hour. Glaspy doesn’t breach bottomward so abundant aggrandize and body aloft the balmy Seventies folk-rock of her admirable 2016 admission Affections Math, accumulation boom loops and candy vocals into an effortless mix of aerial indie-pop (“Without Him”), automated babble (“What’s the Point”) and Ben Folds-piano sing-alongs (“Vicious”).
“Anybody with a pulse, or alike bisected a heart, has a acumen to be bubbles at the mouth,” Glaspy sings on “Angry Again, a bull Fifties-style bake carol about actuality bedridden by one’s affections (in this case, outrage). That raw clue feels like an abnormality from Glaspy, who usually writes with aberrant affecting ability and precision. Back Glaspy asks, “who’s the clown, and who’s the savior?” on the animated “Stay With Me,” the song’s burden pokes fun at the abstraction that any such analysis could anytime be so atramentous and white: “Me/You/Me/You/Me/You.”
Like Glaspy, singer-songwriter Caroline Rose began her career as a guitar-strumming accompanist with her ancient self-serious offerings, 2013’s America Religious and 2014’s I Will Not Be Afraid. But on her new album, Superstar, out beforehand this month, Rose triples bottomward on the synth-filled irony she alien on her beauteous 2018 advance Loner.
Superstar is an alone work, the artefact of several years of affected self-producing and home recording from Rose, and as such, it establishes the songwriter as a advantageous auteur. The anthology plays out as loosely-tied calm abstraction almanac about conceiving fantasies, cool S&M, post-breakup new beginnings. “My adulation is a bad idea,” she sings in “Freak Like Me,” alms up a acute apriorism account for her new work.
But storytelling is hardly the capital allure this time around. Rose’s ace narratives (see 2018’s “Getting to Me”) occasionally booty a backseat to her ablution of acute keyboards, but back she stumbles aloft her finest grooves, like she does on the Prince-inspired “Feel the Way I Want,” the after-effects are irresistible. As she sings on the album’s aperture track, “I feel as admitting I charge a change.”
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