Review: Laufey ticks every box in ‘A Matter of Time’
Courtesy Vingolf Recordings
Rating: ★★★★★
Following months of leaks and singles, Laufey’s third studio album, “A Matter of Time,” aims to meet and exceed the expectations of fans who fell in love with her mix of jazz, pop and bossa nova through viral hits like “From The Start” and “Valentine.” Following up on multiple well-received singles, “A Matter of Time,” Laufey’s most exploratory album, goes beyond any of her previous projects.
The album begins with “Clockwork,” a jazzy introduction to the album’s soundscape. Exploring the feeling of falling in love with a friend, the opener artfully expresses the whirlwind emotions of romance at just the right time: “Like clockwork, I fell in love with you.”
The next track, “Lover Girl,” pulls in bossa nova influence with a bouncy guitar and drumbeat, bringing the bubbly feelings of being in love to boil. No longer nervous about her romantic interest as in “Clockwork,” “Lover Girl” feels like the honeymoon phase in any new relationship — always thinking about the other person, always excited to see them again.
In “Snow White,” Laufey takes a more introspective approach. A steady guitar keeps the song’s pace as she explores feelings of inadequacy and frustration in response to failing to reach beauty standards: “The people want beauty, skinny always wins.”
Equally contemplative, “Castle in Hollywood” reflects on a failed friendship. Laufey sings of the “heartbreak” that she will never be able to return to their “fairy story” and recognizes how her former friend still impacts who she is and will be. A bass guitar gives this song a solid pace, and a memorable chorus makes the song fun to listen to and sing along with.
“Carousel” continues to explore Laufey’s insecurities, particularly related to her life as a performer and hope of finding someone who will accept every part of her life and personality. Like “Snow White,” this track’s slow tempo allows the lyrics and carnival-like instrumentation to shine.
Months after its initial release, the album’s lead single “Silver Lining” continues to shine. Laufey expresses her dedication to her partner and the joy she experiences with them. The song’s rhythmic backing track evokes a dance floor atmosphere, suggesting the singer is moving in sync with a partner.
Wrapping up the first half of the album, “Too Little, Too Late” explores the feeling of missing out on a perfect love while the other person seems to be moving on. If “Carousel” celebrates finding love right on time, “Too Little, Too Late” highlights the desperation associated with missing out on something amazing. The tempo increases throughout the song until it peaks, evoking the feeling of trying to catch up with a departing train. Right at the end, Laufey’s signature cello plays the melody of the title track of her last album, “Bewitched” — a farewell to those past feelings of enchantment.
The interlude “Cuckoo Ballet” marks the album’s second act and allows Laufey to showcase her skills in arrangement as a medley of her album's melodies plays, priming the listener for the record’s latter half.
With “Forget-Me-Not,” Laufey orchestrates a classically-inspired ballad. She reflects on her journey away from Iceland to live out her dreams and imagines herself as a forget-me-not, withering lest her home country forget her. This is the only time Laufey sings in Icelandic on this album, emphasizing the importance of this song as a remembrance of her home.
A true bossa nova track, “Mr. Eclectic” presents a Laufey who is more experienced in love and can spot a fake for who they really are. The track comes at the perfect time to balance out the intense emotions of the previous songs and bring some calm back to the listening experience as the album comes to an end.
“Clean Air,” the penultimate track, draws from country influences. Like Sabrina Carpenter’s pop-country blend, Laufey elegantly combines a classic sound with contemporary influences to create a memorable song expressing the joy of pushing out a toxic influence.
Finally, the album’s closing track, “Sabotage,” ruminates on the causes Laufey feels have damaged many of her past relationships. At first listen, this song begins with a deceptively smooth melody, with surprise glitches of orchestral chaos evoking repressed emotions. The closer powerfully encapsulates themes of self-doubt, anxiety, and a hesitation to trust. “Sabotage” also features the album’s title — in love, Laufey believes it’s only “a matter of time” until disaster.
Diving into her deepest insecurities, Laufey’s “A Matter of Time” is incredibly personal. While the album prominently features Laufey’s distinctive blend of jazz and pop, she successfully explores other influences to create a unique soundscape that ties the entire album together. The tracks’ diversity of sounds makes this album a rollercoaster to listen to, but offers its listeners a chance to find a song that feels just like what part of their love story they’re living right now. It’s only a matter of time for any song off this album to become your new favorite.
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