We love ourselves a well-crafted pop hook around here, and 36-year-old Canadian singer/songwriter Carly Rae Jepsen is certainly no stranger to providing such goods in earnest. On the heels of her last major studio project cycle for the sharp and memorable Dedicated three years ago—followed by its companion cutting room floor batch Dedicated Side B in 2020—the multiple Grammy Awards-nominated Interscope recording artist currently finds herself in the midst of the promotion of her forthcoming sixth LP, The Loneliest Time. Slated to hit the streets on 21st October, the 13-cuts-strong collection of brand new original material has hitherto been teased by two incongruous lead singles, all the while keeping a relatively low-key publicity profile. The Vampire Weekend founder Rostam Batmanglij-produced “Western Wind” dropped as principal taster already back in early May this year, segued in its footsteps by the sugary cautionary date-tale “Beach House” during the peak of summer.
While the former sports a slow-to-mid tempo rhythmic undercurrent and relies on a moody and pensive musical backdrop, Jepsen’s latest offering in time dabbles in a groovier and more upbeat vanity exercise, adorning the self-ironic and sarcastic lyrical ethos laced into the tune. This is a far cry from and in stark contrast to the earthly and spiritual inclinations worked into the laid-back valence of predecessor “Western Wind”: “Comin’ in like a western wind / Do you feel home from all directions? / First bloom, you know it’s spring / Remindin’ me, love, that it’s all connected / What is love? / Comin’ in like a western wind“. The sound duality found as part of the shortlisted two-pack single in anticipation to the full release might be indicative of the full potential range of moods, styles, and flairs embedded within the album—which also sees fellow Canadian singer/songwriter and composer Rufus Wainwright feature on the title track doubling as album closer.
Regardless of the actual musical substance packed into The Loneliest Time, the prospect of a new CRJ project remains an engrossing and mouthwatering one. The second half of her 2010s included an astonishing and brilliant spree of watertight material, centred around her 2015 synth and dance pop perfection Emotion. The studio album was not only a sprawling and irrepressible commercial success, riding on the coattails of iconic global smash hit singles “I Really Like You” and “Run Away With Me“, but it also secured widespread critical acclaim, landing multiple best-of year end lists as well as getting shortlisted for her homeland’s 2016 Polaris Music Prize. Its companion collection of throwaway tunes, simply dubbed Emotion: Side B, followed suit in the form of an 8-track EP one year later, once again plucking countless favourable reviews from critics and getting washed in numerous accolades. Dedicated, Jepsen’s fourth studio LP, dropped in 2019, meeting renewed glowing praise and debuting at number 18 in the USA, marking her third top-twenty album by that point.
Both Dedicated and its ancillary Side B exploit b/w a riveting twelve previously unheard of records found the British Columbia-native uphold the superior bubblegum pop yardstick set by their predecessors, whilst contemporaneously veering more pronouncedly into classic disco territory, lifting and borrowing from a wider and older host of sonic influences such as funk, house, and R&B. You probably guessed it, but once again both efforts gathered continuous adulation and excitement from fans and tastemakers alike, with the principal A-side project getting name-dropped in many year-end lists of best albums of 2019. The Loneliest Time is poised to be her first batch of new material to speak of since then, and will be further supported by CRJ embarking on a highly-anticipated concert leg named The So Nice Tour, set to commence in September this year and scheduled to touch base across the whole of North America.
Be it the analogue and earthy feel of “Western Wind”‘s percussive rudiments interspersed with the airy and hollow guitar solo cued in at 2:20 on the track, or be it the undeniable stickiness of the chorus-to-post chorus combo seeping through newest single “Beach House” (“Boys around the world, I want to believe that / When you chase a girl, it’s not just huntin’ season / I can see the future, say it like you mean it / I got a beach house in Malibu / And I’m probably gonna hurt your feelings“), the platinum-selling artist’s upcoming studio effort is sporting all the right attributes to warrant the grand opening of what is set to be another blistering cycle of pop triumph—coming this fall courtesy of an artist who has never shied away from being her unapologetic self, both on and off stage.
I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.