Sarah Kinsley – ‘Escaper’ album review

This was followed by the rise of equally compelling releases, like Lana Del Rey’s Norman Fucking Rockwell and Mitski’s newer album, The Land Is Inhospitable and Neither Are Weto name a few. The breadth of musical exploration and the quality of these works seemed to be the domain of artists who knew exactly how to balance the experimental with the accessible.

Many others leaned too much towards one or the other, either too experimental or too pop, and failed to capture the lasting impact of those who found the perfect balance. But Kinsley’s latest release, her first full-length LP, Escapist, Proving that he has already crossed the finish line, his passion for producing and singing positions him as a world-class artist and a multi-faceted visionary with an incredibly promising future.

From beginning to end, Escapist unexpected turns, Hollywood-style romance and fantasy adventures, light and dark elements are the traveling princess of Kinsley’s dominant vision and emotional depth. Listening to the album at certain points, the above and Nostalgic masters like Kate BushBut when the needle is raised at the end of the 12-track work, it becomes clear that her voice is completely her own, a unique voice that has earned its place in the world of modern music.

For fans: The scene in Gladiator where a hand is waving over tall grass—though I can explain why that image was inspired by Kinsley’s work.

A comment in conclusion: a record store owner: “This is not only unlike anything I’ve heard before, but it’s also like everything I’ve heard and loved before.”

Escapist piecemeal:

Publication date: September 6th | Producer: John Congleton and Sarah Kinsley | Tag: Verve Forecast

‘We Will Never See Each Other Again For The Last Time’: Kinsley wastes no time in drawing you in with ‘Last Time We Never Meet Again’, a song that proves Kinsley’s ability to tick all the boxes without giving too much away. Kick InsideIt’s hard to think of a more perfect album opener. (4/5)

‘Worlds’: Kinsley’s worlds are always limitless, sometimes overstuffed, and never boring. As a lover of moments that merge the real and the fantastical, ‘Realms’ feels completely unconstrained by the rules of creativity, Kinsley’s vocals drawing you in but rarely distracting from the overwhelmingness he so expertly delivers. (4/5)

‘Sparkle’: With colorful notes and swirling melodies, ‘Glint’ satisfies the pop-hungry heart without sacrificing rich textures and unique energy. Kinsley’s vocals shine through, and the accompanying arrangements provide a consistently spacious feel that invites multiple thematic interpretations. (3.5/5)

‘Sublime’: Kinsley remains one of the most intriguing new artists on the basis of unpredictability alone. ‘Sublime’ starts off slow, fun and experimental, but after about 50 seconds, the change in tempo and infectious melody heighten the listening experience and this becomes the most exciting record in alternative pop. Melodrama. (4.5/5)

‘My Name Is Dance’: This track manages to demonstrate Kindley’s ability to reach into areas just outside of pop convention, pulling back just before it becomes unattainable. It’s dizzying in a way that feels enlightening rather than shocking. (3.5/5)

‘Beautiful Things’: This delicate intro brings a calmer, more reflective atmosphere to an already emotionally charged album. While there’s something Lana Del Rey-like about Kinsley’s vocals, the track shifts at unexpected moments throughout, with the pained edge of Kinsley’s delivery stealing the show and invalidating any comparisons to another contemporary artist. (4/5)

‘Barrel of Love’: Kinsley doesn’t just raise the bar, he shatters expectations, reaching new heights never before thought possible. ‘Barrel of Love’ starts gently before building up mid-song, revealing a less forgiving side to Kinsley’s attitude and a freer feel to the overall production. (3.5/5)

‘Subject’: ‘Matter’, delivered with a more traditional indie-pop twist, feels predictable yet necessary, proving that the genre is anything but stale. (3/5)

‘There Was a Room’: In a bold turn, ‘There Was A Room’ begins with a 1980s ballad vibe, with Kinsley’s voice sounding sharp yet comforting, bringing previous comparisons to Bush to the fore once again. (4/5)

‘Knights’: Diction is relatively under-appreciated in the contemporary music industry, especially after witnessing the rise and fall of “cursive” singing. But songs like Kinsley and ‘Knights’ prove the power of conveying messages loud and clear without tainting the overall feel of the music with an unnecessary level of aggression. (4/5)

‘Starling’: Another track that delves deep into the darkness surrounding the fringes of modern-day romance, ‘Starling’ arrives with a fierce execution where Kinsley’s ability to oscillate between beauty and contempt proves her ability to both captivate and inflame once again. (4/5)

‘Escape’: Ending the album on a dramatic, orchestral note, ‘Escaper’ is like waking up from a deep sleep and falling into a much needed slumber. I wish this LP was longer. (4.5/5)

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