Zoë Strickland | Editor-in-Chief
It’s been three years since singer-songwriter James Bay released his debut album, and I’ve been anticipating his second since I finished listening to the first. “Electric Light” is good, but it’s nothing special. In his second album, Bay seems like he’s trying to reinvent his sound, but does so in such a miniscule way that the changes just seem like slightly overproduced missteps. While the album almost succeeds in showing a different side to the artist’s music, an overall lack of continuity is its downfall.
When it comes to music, I love a good connecting storyline — and Bay’s sophomore release seemed like it was going to deliver. “Electric Light,” in a way similar to “Camp” by Childish Gambino, uses interludes of dialogue to introduce the listener to the story that the album is trying to tell.
The first track, aptly named “Intro,” consists of nearly a minute of dialogue between Bay and a woman who’s playing the role of his significant other. The conversation comes back halfway through the album with “Interlude,” another minute-long track. While this framework acts as the set-up for a musical story, the album itself fails to follow through. I was expecting the last track to sum up the record in a similar conversational way, but it ended on a bittersweet musical note that housed Kodaline-levels of sadness. Though the attempted storyline seemed like it was aiming for somewhere great, it failed to get there.
The first single released and fourth tune on the album, “Wild Love,” is destined to be one of the songs of the summer. “Wild Love” relies heavily on autotune, nearly to the point of sounding like Bleachers. However, the majority of the song remains low-energy and squanders the pop potential it appears to be aiming for. It isn’t until the track is almost over that the sound drops into a danceable beat.
Bay’s debut album, “Chaos and the Calm,” was released in 2015 and was a solid record — his powerful vocals and intensely romantic lyrics resulted in three Grammy nominations. While “Electric Light” still houses the same strong sound that was displayed in “Chaos,” the at-times-overproduced quality of the songs took away from how much I enjoyed the album as a whole.
While I dislike Bay’s overall sound reinvention, I do have to commend him on the powerhouse that is “Stand Up.” The song begins with layered vocals, but quickly turns into a softer, choral interlude, eventually building up to a climax of boisterous percussion and violin, ultimately winding down to a calm finish that borders on lackluster.
“Just for Tonight” is the song that’s most reminiscent of the artist’s previous releases; the tune feels like it’s reaching into Bay’s singer-songwriter roots, but ultimately winds up relying too heavily on choral voices.
Though I’ll probably stick to listening to his first album, it seems like “Electric Light” is Bay’s way of coming into his own sound. The album plays more with autotune, voice layering and different genres. However, the failed continuity of the record makes it seem like Bay was throwing pasta at a wall and hoping it would stick — if the organization was better, I think the reinvention would have been more successful.
Contact the author at journaleditor@wou.edu
Photo courtesy of: republicrecords.com
