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Review: Carly Rae Jepsen’s The Loneliest Time

Review: Carly Rae Jepsen’s The Loneliest Time

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3 Essential Tracks:

  • “Surrender My Heart”
  • “Go Find Yourself or Whatever”
  • “The Loneliest Time”

Carly Rae Jepsen is one of those artists whose music is so good that it leaves the listener wondering why she isn’t one of the biggest artists in the world. Since the breakout success of “Call Me Maybe,” the Canadian songwriter has had very few other hits (for no discernable reason) while comfortably making some of the most fun pop music of the past decade, including her acclaimed 2015 album Emotion

The Loneliest Time is Jepsen’s fifth studio album, and like many albums from the past few years, it was composed during an era of pandemics, lockdowns, and, well, loneliness. The lyrics reflect the singer’s periods of insecurity, self-reflection, and ultimately, reconciliation, while Carly meshes her signature pop tracks with songs that lean closer to acoustic folk. It may be messy at points, but overall it’s a stunning collection of music with plenty of career highlights. 

The cathartic opening track “Surrender My Heart” delves headfirst into themes of self-reflection and self-doubt. As the song builds into its showstopping pre-chorus, Jepsen sings wistfully: “I know you hate that I still test your love, I’m trying not to f*ck this up.” This track’s synthy 80s-infused groove and contemplative lyrics make it an immediate standout, both on this album and as a 2022 pop song. The following track, “Joshua Tree,” features a killer bassline and verses about jumping headfirst into an idyllic relationship, whether Carly wants to or not. Admittedly, the chorus on this song is a bit underwritten, but whether that detracts from the overall track is debatable.

While The Loneliest Time excels in its vulnerability, it certainly doesn’t lack in fun. “Talking To Yourself” is a bop laced with catchy hooks and splashes of electric guitar over which Jepsen ruminates on an unfulfilling past relationship, snarkily wondering if her ex is unable to get her out of his head. Meanwhile, Beach House is a concise, hard-hitting dance-pop banger about the uncertainty of dating apps, with darkly funny male vocal contributions (see: “I’ve got a lake house in Canada, and I’m probably gonna harvest your organs”). “Bad Thing Twice” is also an engaging highlight, with a vibrant synthetic bassline and exceptionally well-written metaphors. (“‘Cross the rivers of my mind, you’re my little rock skipper-skipper-skipper-skipper”) 

Aside from its share of pop bangers, The Loneliest Time incorporates elements of singer-songwriter and folk music on a handful of key tracks. “Far Away,” for example, feels like a stroll through a mystical forest with accompanying lyrics about second chances and the desire for affection. The lead single “Western Wind” (produced by Rostam of Vampire Weekend) features a sweet and restrained vocal performance, simple but effective drums, and a gloriously chill guitar solo. “Go Find Yourself or Whatever” is also Rostam-produced, and between its phenomenal chord progressions and melancholic lyrics, it represents the album’s peak. 

Finally, the title track, which also serves as the album’s closer, is a pretty perfect summation of everything that is lovable about this entire record. Carly brings in Rufus Wainwright for a passionate but laid-back duet over a disco beat, tying up the album’s themes of loneliness and fickle relationships and culminating in a spectacular cry: “But you know what, I’m comin’ back for you baby!” Not every song on The Loneliest Time is as moving as its highlights, and some cuts like “Sideways,” “So Nice,” and “Shooting Star” suffer from a bit too much vocal processing and a bit too few memorable hooks. Nevertheless, this record feels like a warm hug from an artist who has no intention of leaving her audience lonely anytime soon.

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