Emily Steinwall's sophomore album, 'but, there's beauty in the fall from Grace', marks a significant departure from her debut, 'Welcome to the Garden'. While the former showcased a masterful blend of art rock, progressive pop, and indie rock with a touch of early-metal riffs, the latter leans towards a more subdued and introspective sound. The album's title itself hints at a journey of self-discovery and a struggle to find beauty in a world of chaos and personal turmoil. Steinwall's music, as always, is a testament to her exceptional vocal range and songwriting prowess, but the album's pacing and structure leave something to be desired.
The opening track, 'Soft Animal', sets the tone for the album with its Radiohead-inspired guitar arpeggios and Steinwall's soaring vocals. It's a powerful start, but the rest of the album fails to maintain this intensity. 'Human Anymore' follows suit, with its distorted garage-rock riffs and a sneering vocal performance that recalls the grunge era. These initial tracks showcase Steinwall's ability to create a dark and edgy sound, but the rest of the album veers towards a more mellow and dreamy atmosphere.
The album's ballads, while beautiful in their own right, tend to drag on, with 'Something' being the most notable offender. Its minimalistic and sleepy palette, combined with a nearly seven-minute runtime, feels like a lullaby that never ends. The use of the pedal steel guitar and floaty vocals might be a bit too much, especially when followed by the literal lullaby 'Rock Me, Baby'. Steinwall's saxophone, a key element in her debut, is only featured on one track, 'Slow Burn', which is a welcome moment of relief.
However, Steinwall's vocals and production are top-notch throughout the album. Her range, from breathy lows to commanding wails, is on full display, and the warm and immersive sound design enhances the overall experience. The maximalist crescendos in the back halves of 'No One Wins a War' and 'There Is a Light' are particularly impressive, with Steinwall's keening high register and Kirk Macdonald's saxophone feature adding a layer of intensity. 'Free Spirit', despite its drowsy waltz tempo, has a dynamic buildup and climax that recalls the grandiose ambition of 'Welcome to the Garden'.
Despite the album's flaws, Steinwall's pursuit of beauty and healing shines through. The lyrics, centered around a wounded heart's desire to heal and feel love again, are evocative and poignant. The album's title, 'but, there's beauty in the fall from Grace', becomes a metaphor for Steinwall's journey of self-discovery and acceptance. However, the album's focus on sounding 'pretty' might have hindered its potential for a more intense and cathartic experience.
In conclusion, 'but, there's beauty in the fall from Grace' is a mixed bag. While it showcases Steinwall's talent and emotional depth, it fails to capture the intensity and ambition of her debut. The album's pacing and structure could have been better balanced, but Steinwall's vocals and production remain exceptional. Perhaps, after this bit of healing, she can fully spread her wings in future projects, but for now, she's moving slowly, backwards and forwards.
Recommended tracks: Soft Animal, Human Anymore, Free Spirit. You may also like: Mingjia, Sans Froid, Marjana Semkina. Final verdict: 6.5/10.
