The challenging and experimental brand of pop Rae Morris produces is certainly worthy of note.
Whilst her debut album demonstrating some of tonal diversity of which she is capable, Someone Out There runs with this ability. Forcing vocals into different shapes, she considers the boundaries of pop and takes chances on the way these are formed.
It seems Morris has, to some extent, detached herself from the ballad form that featured in her first album. The dramatic, conventional sounding characteristics of Unguarded have been let go in order to emphasise her investigation of this alt-pop. Aptly named, song ‘Reborn’ demonstrates the clear evolution of her vocals, utilised to make more of an impact, with interesting conglomerations of sounds and rhythm demonstrating a newfound territory.
‘Atletico (The Only One)’ shows vocals that take off, only to land instants later – though the journey was still made. Sharp and interesting slices of notes emerge forcefully, only to disappear under interesting manipulation of her voice. And while I am not the biggest fan of the delay and reverb, its fleeting use is often of value. Also of note is the synth pulses from underneath the light and playful lyrics of ‘Do it’ – though the lyrics are not so affecting, the track is bouncy and honest.
‘Someone Out There’ is a welcomed shift down a gear, striking a contrast that momentarily returns the album to the ballad-sound of her debut. The vocals linger, and sustain a sense of delicacy amongst the busyness of this exciting and interesting album. While different to the promising sound of Unguarded, Someone Out There is a long-awaited and appreciated change.