Laufey’s ‘A Matter of Time’ Is Achingly Personal — Album Review

Chinese-Icelandic singer/songwriter/multi-instrumentalist extraordinaire Laufey has been steadily climbing into the musical zeitgeist. Her sheer talent and knack for compelling storytelling prove she deserves a place among the greats. Laufey’s also on a mission to introduce jazz to the mainstream, albeit with her signature flair that makes her music so uniquely, well, her.

On her latest album, A Matter of Time, we hear her jazz and classical influences, like Billie Holiday, Ella Fitzgerald, and Chet Baker. However, there’s a marked shift on this record compared to her previous offerings. There’s a stronger marriage between Laufey’s jazzy leanings and contemporary music.

Lyrically, the musician adopts a more mature, even personal, sound. This album is her most achingly personal work yet.

More Cohesive Storytelling

A Matter of Time tells a complete story. The narrative can be broken down into two halves. The first half is more hopeful, chronicling the early days of a budding romance. (The honeymoon phase, if you will.)

Once we hit “Too Little, Too Late,” the track before “Cuckoo Ballet – Interlude,” we pivot into darker territory. After that interlude, it’s all about heartbreak; the fall after the rise. The comedown following a bad breakup.

Like Clockwork

Laufey taps into her wellspring of vulnerability, giving us listeners access to her innermost insecurities. It’s painfully relatable. Kicking things off, the opening tune, “Clockwork,” is irreverent and cheeky while documenting the nervousness one feels before jumping into a new relationship with both feet.

“Lover Girl” is Laufey’s confessional piece. She admits to thriving on love, to having an addiction to romance. The lyricism is lighthearted and fun, keeping in line with the uptempo instrumentation.

“Snow White” sees Laufey digging deep into something we (especially women) can relate to: body dysmorphia. Societal beauty standards can crush one’s confidence. “Castle in Hollywood” meditates on the severing of friendships. Meanwhile, “Carousel” delves into resonant feelings of diminished self-worth. Laufey sings about not feeling good enough for her partner despite their reassurances. The lyrics cleverly boast circus imagery.

“Silver Lining” is all about commitment. Laufey is in it for the long haul. She would walk through hell for this person. However, she’s soaring too close to the sun, and her sun will inevitably burn her.

Too Little, Too Late

“Too Little, Too Late” has a lyrical nod to “Carousel” with the line, “I’m just a jester, I’ll never be him.” Here, she mourns the loss of love as her partner finds someone else. “I’ll toast outside your wedding day; whisper vows I’ll never get to say” hits you like a verbal Mack truck.

“Forget-Me-Not” is a melancholic affair, brimming with yearning. It’s a memorial for the you you were before that person wreaked havoc in your life. “Tough Luck” serves as Laufey’s “mic drop” as she presents a scathing takedown of her ex.

Then, there’s “A Cautionary Tale,” which sees Laufey get introspective. She analyzes the broken psyche of her former partner while ruminating on how much she gives of herself. But she falls for cautionary tale after cautionary tale.

Mr. Eclectic Allan Poe

“Mr Eclectic” is a more uptempo, “cutesy” lambasting of a one-dimensional person. “What a poser, you think you’re so interesting” packs a punch because of its simplicity. Laufey doesn’t mince words here. “Clean Air” is a phoenix rising from the ashes — Laufey sings about resolving to cut out toxicity and hold fast to her peace.

“Sabotage” is relatable to anyone who questions themselves in the aftermath of a breakup. Was it my fault? Did they leave because of me? “It’s just a matter of time til you see the dagger” speaks to our tendency to repeat harmful cycles despite the inevitability of danger. There’s a strange comfort in what we know.

Musicality

Laufey doesn’t shy away from taking musical swings for the fences with A Matter of Time. The bonus track, “Seems Like Old Times,” is unadulterated Laufey. A jazzy, big band affair, punctuated by piano, upright bass, and percussive beats. It makes one feel like they’re in a jazz club in the ’30s.

“Clockwork” also leans into the old-school big band sound. Complemented by Laufey’s buttery smooth vocals, the ticking of the clock provides a backdrop for the lyrics.

Additionally, Laufey incorporates leitmotifs into this album, bringing back the ticking clock in the “Cuckoo Ballet – Interlude.” In fact, said interlude infuses melodies from other tracks on A Matter of Time, including a lone cello playing “Too Little, Too Late,” and a musical inversion for “Silver Lining.” It’s so beautifully orchestrated. One can imagine actual ballet dancers leaping across the stage, but it’s also reminiscent of a film score from the ’40s/’50s.

Experimentation

Orchestra-heavy tracks like “Forget-Me-Not” and “Sabotage” really stand out. The latter utilizes tonal clashes and a cyclone of errant notes and musical dissonance to represent Laufey’s self-sabotage. It’s imperfect, messy, and wholly human.

“Carousel” is a reminder that our girl Laufey loves her 3/4 time signature. It evokes riding a carousel with its xylophone and accordion flourishes. Laufey plays with dynamics in songs like “Too Little, Too Late,” in which the orchestral buildup and frenetic instrumentation make her pain feel tangible.

She also branches out of her typical jazzy sound with songs like “Silver Lining,” “Lover Girl,” and “Clean Air.” The latter, in particular, reminds one of ’60s folk acts like Simon & Garfunkel. “A Cautionary Tale” incorporates mandolin and light percussion, though it’s particularly piano-heavy in some spots.

Less Is More

What Laufey always does well, and it’s quite apparent in A Matter of Time, is that she understands the idiom, “less is more.” She knows when to bring more instrumentation into the fold and when to back off and let the lyrics take center stage. “Snow White” is a prime example of this. The powerful lyricism stands on its own while also allowing Laufey’s silky, ethereal, yet raw voice to shine. “Tough Luck” also showcases Laufey’s upper range.

“Forget-Me-Not” boasts a delicate, gossamer quality and is also an example of Laufey’s understanding of music theory and the art of musicality. Side note: as a flautist, this reviewer loves the flute flourishes throughout the album.

A Matter of Time is a tour de force record for Laufey, blessing us with an amalgam of pitch-perfect musical composition, impactful lyrics, and gorgeous vocals. It’s worth a listen, especially if you’re nursing a broken heart.

Laufey is solidifying herself as the jazz voice of a generation.

 

 

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