(Hyperdub)
The uniquely puckish Canadian electronic artist spans pop and beguiling abstraction on her fourth album, as she writes about boldly confronting her needs
Jessy Lanza’s third album, 2020’s All the Time, traded in suggestion. The Canadian producer let fly little wisps of desire – “want / you” – on the breeze of her off-kilter, neon-hued club music in the hope that they might be reciprocated. Love Hallucination changes mode: Lanza is no longer asking but demanding orgasms, devotion and boundaries, sometimes losing herself in the gulf between desire and reality. “So frantic with no purpose,” she sings over the wonky funk of Gossamer, sounding pleasurably lightheaded in pursuit of her needs.
Lanza has credited this newfound boldness to her initially writing these songs for other artists. Yet Love Hallucination isn’t cosplay but an affirmation of Lanza’s unique ear. Her tactile heavy bass, cirrus-wisp synths and spun-sugar falsetto have deepened: the low end is diamond-hard, her playful freestyle-inspired melodies and moods glimmer like the light refracted through the gem. Don’t Leave Me Now is at once prowling and prismatic in its hi-NRG; the glimmering Drive is a study in liquid and solid. There’s pop potential (the sing-songy “you’re unkind!” chorus of Don’t Cry on My Pillow) and beguiling abstraction (Big Pink Rose swerves between petal-plucking dreaminess and breakbeat tremors).
Continue reading...by Laura Snapes via Electronic music | The Guardian
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