While “Delight” does come from a somewhat pop place, admittedly one of poise and understatement, it is the other genres and styles it absorbs that make it so much more than the usual product of that part of the musical landscape.
In its ephemeral ebbs and flows, you find all manner of sonic tides at work, ones of an ambient nature blending with classical undercurrents, washed-out pop gloss mixing with cinematic soundscapes, dramatic peaks, and lulling lows. These carry it out of pop proper and into, if not entirely, the realms of the genuinely alternative sounds of someone like Zola Jesus, then at least the same sort of place that fans of Lorde’s more understated work will find familiar.
Making such music is about more than just parring the song back to create a more minimalist background. Listen closely, and you realize that what is going on behind the vocals is ornate and complex; it’s just that it isn’t intrusive, allowing the vocals to dance delicately over the top.
And as “Anacy* reaches the song’s third act, as she reaches ever more impressive crescendos, as the song heads for new sonic realms to conquer, I realize that we have left that pop place altogether, and perhaps we were never really in it, and have found our way into the part of the sonic landscape that Natasha Khan and Bat For Lashes called home, and that is never a bad place to find yourself.
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