The irresistible wit of Casey Musgravs’ first two albums has long led the last couple to sincerity and, above all, a gravitational pull on love তার her last release, the 2018 Grammy-winning “Golden Hour,” and the just-released “Star-Crossed” Reading.He allows himself a good laugh, though … not the new record song, but its attendant in March.Fans who buy the deluxe boxed-set version of the album package will find a set of plastic press-on tears in his bonus, which is almost every way It would be considered a fool.It’s a meta blink of an eye how serious he is about feeling all the laziness in the moment, on an album where Musgravus is nothing but hardcore about being miserable.
Sometimes a singer-songwriter knows how to punch a headline writer, and that’s true of Musgrave, who, deep down on the album, gives a simple summary of his transitional phase when he sang: “Golden Hour Faded Black.” It’s a log line that puts in a phrase that sets this record apart from the last record – which is everything, when it comes to feelings about love, destiny and disbelief. “Golden Hour” no doubt had her honeymoon record, and no less bones about “Star-Crossed”, her follow-up three years later, her divorce album. The signature of the paper is called for at the beginning of the second verse. There’s no beating around the bushes here – don’t burn slowly if you want – to get a literal account of the album’s thematic crooks.
Of course, this kind of confessional branding is irresistible to a certain audience, and may be less for a section of music fans who may not have the irresistible-difference-like-an-idea-album actually catnip. They may just want to know if they’ll get the butterfly যদি if not the actual “butterfly” remake থেকে from the soundtrack to this dreadful business, such as Musgraves and returning producers-co-authors Daniel Tashian and Ian Fitchuk. The answer is a resounding yes, because “Star-Crossed” doesn’t sound nearly as mournful as it does in its inner life. There are many techniques used in the studio trade that basically have some pop surge on a ballad record. And although you don’t necessarily want to describe his voice as ineffective, there is a consistency in the purity of his voice that keeps the height of the last album from getting too high and doesn’t let these new levels go down either. Its default mode is an inviting nature, sadness as well as the joy of the previous album.
It should be noted that Actually “Star-Crossed” has been placed on a rare subcategory of break albums due to grief over her separation from fellow singer-songwriter Ruston Kelly. Contemporary collections that deal with it (like Tammy Wynette once spelled it out) Divorce is supposed to be pissed off, isn’t it? Musgraves never got a memo, and so it stands in stark contrast to “Star-Crossed”, say, Chicks’ 2020 “Gaslighter”, which, for the furious Natalie Minus, was mostly about the scorched earth (and rising for it). Our romantic heroine here is more interested in taking the audience on a journey that brings together as many experiences and feelings as possible that can come at the end of a great relationship. In its publicity it is a little pretense-sounding way to call it “a tragedy in three actions”, there may not even be a song that ends the journey of the whole episode. It’s an album where he can’t be “happy and sad at the same time” at the same time, as heartbreaking, rebellious, nostalgic, self-doubting, sassy, angry and flat in the same divorce-court response loop.
The title song is meant to be a kind of emotional passion for everything, and it feels like the only real glory of the album, arbitrarily tagged at the beginning of the record, as if one thinks the album needs a wide range of own theme songs, or even jingles, to introduce it and To tie it together. Calling Ennio Morricone’s Western lyrics and guitar is hardly a bad idea, but it does hyperdramaize an album that fortunately turns into a subtle mixed feeling at the bottom of the play. Marriages tend to end for more mundane reasons than “flying too close to the sun” – but don’t worry, Sergio Leone will leave them after they leave the scene.
The album is running smoothly – Act 1, Scene 1 – with “Good Wife”, apparently written in real time when Musgraves thought a booster shot of maternal stimulation might be called for all situations. This “I can be more fun” suggestion sounds like an honest one, and its curious weakness quickly establishes that it won’t be a self-mythological album in any way. (And perhaps the album isn’t 100% levity-free; when Musgravs doesn’t smile trying to figure out what the perfect housewife would do, she says, “I can pack her a bowl.”) There’s an interesting contrast to this song, not the last. , Between the worries of the lyrics and the comfortable food of the music, such as Tashian and Fichuk create a song about a wedding like a sexy slow jam with failed words from the first to the middle. It’s far from the last time that they reveal Musgrav’s voice through some clear electronic treatment, which sometimes impresses you even more in the song and sometimes makes you a little stunned by it. They also double-track his voice, so that the two Musgraves may seem a little weaker than the one.
The album takes a break from its harsh romantic-wreck theme for “Simple Times”, where the singer presumably determines that “growing up is a bit bad” and becomes nostalgic in the heyday of “Ragger” / “Pager”, top-wearing, 7 -11-loitering teenager returns to Texas. (This song allowed Spotify to have a release-week installation in Nashville this week where fans could celebrate Musgravus ‘youthful memories, such as a tiny’ 90s theme park সম্ভবত perhaps a good alternative to a divorce-themed pop-up.) It’s not a bad song. Looking back, however, Musgravs continues more confidently and sadly with the “camera roll”, where he swipes through all the photographic documentation of the happy days of the relationship and concludes, “I don ‘I don’t want to see them / but I delete them.” I can’t throw it away. “Very few listeners in the developed world will ever be able to associate the description of his twin selfies as the basis for self-torture.
While the rage for Musgraves on this record isn’t far from a default mode, he did go there on a track, “Breadwinner”, a snacky song that just gets a little softer set to a simple disco beat from the previous album’s “High Horse.” It is bound to be one of the most talked about tracks, for its feminist-progress see that men talk loudly about being able to handle high-profile (or -inear) they may eventually be able to deal with it. But even there, a song with a cheerful electronic pulse that seems ready to be sung for a girl-boss isn’t quite upset.
Musgraves often had his best as a lyricist when he was his lowest determinant; Think of the first album, “It’s Is It,” a number that wasn’t afraid to finish the record on a set of mixed feelings. Part of the energy of “Star-Crossed” as an album is how much of it is spent without resolution. It may seem counter-intuitive to say that someone is shining his brilliance in a state of confusion, but capturing a story on a mid-flight takes self-knowledge as well as the skill of writing a song, when the situation can somehow tip over. It has a final moment in the lyrical drama “Hook-Up Scene”, where the singer describes the rush to move on to an active dating life after the breakup and how the zero feelings from her surprise him that she was interested in leaving the open market and rejoining. A pitiful jungle. He advises his girlfriend, who is still stuck with their dissatisfied companionship: “Hold on tight despite the way they hurt you / because if I only knew we weren’t so bad.” Towards the end of the album, he will sing a different tune – you know it should end at least the chance of a winning note – but his ability to reveal to the world that he at least has a few moments to wonder if he got it all wrong as it matures Marks.
If you want a less conflicting equivalent than the “hook-up scene”, however, don’t look for anything other than “fair”, the title of which seems right about going back to the single world. And the arc of the record has shifted from sad-e-me to humiliating fight-success when he says “what doesn’t kill me” (whose title is “… makes me stronger” as a kicker instead of “better run”) and “there There’s a light, ”which is fixed on taking a break as a good tradeoff for not hiding his candle under a bushel anymore. Does he believe? Musgraves doesn’t exaggerate strongly in this final context, surprising you, since the music grows a little more finger-picking and a little less electronic, he buys his own Bravodo or is still trying to turn it into an entity. Maybe you were there.
Some fans may wish that the album was more expected from the pop divorce record than the “You Go, Girl” tune, but the post-split feeling cornocopia is really considered a feature, not an error. And one of the best things about “Star-Crossed” is its boldly weird but highly satisfying ending, a cover of the Spanish folk song “Gracias a la Vida”, written by Chilean singer Violetta Parra and later Mercedes Sosa, popular throughout Latin America. The song is already seen by Spanish connoisseurs as somewhat mysterious captor of the album, and it is even more obscure if the lyrics and history of the song are known শুধু just a firm and powerful conviction of the glory of survival, recorded by someone who committed suicide shortly afterwards. There’s a lot about Musgraves ’albums that come together with this unusual choice যেমন like he and his co-producers, who have already filtered his voice into the record in different ways, choose different vocal sounds for each of the six“ Gracias a la Vida ” In verse
There are so many different ways to survive bravely and successfully, that seems to be the ultimate game – including perhaps getting married or being romantically perfect forever. Whatever it is, he’s willing with this impressive closing cover choice, whatever it is, the album didn’t have the black threat fading before. The museum is over, but she’s left gold.