It puts the stresses of having an indie-pop hit into perspective. Many of these tracks are rooted in nature. As the record zeroes in on her rapid rise to fame, the artist is determined to tell the story in her own words. by Alexandra Black. When enough land, an album might appear. She is capable of them: Watch her heart-punching performance of “Fallingwater” on “SNL,” which she tackles with a hunter’s bloodlust that puts the album’s benign Spotifycore-friendly version in the shade. It is tempting to imagine Maggie Rogers’ career rollout had she not found viral fame from Pharrell’s patronage: the narrative she might have chosen, the songs she could have deployed to establish her aesthetic. The result is an organic, earthy vibe that permeates ‘Alaska’s’ skittering beats and the wind chimes and looped vocals of ‘The Knife’. Maybe it’s something she always had, but perhaps having her life exploded in three minutes and nine seconds has given her an acute sense for the alchemy of transformation. Rogers builds her songs around instinctive, skeletal clicks, the simple, uncluttered production giving her voice all the space it needs. Her debut album is the work of an idiosyncratic talent. The innate elegance of “Alaska” is a bug crushed under heel. If the shots miss, they try different directions, producers, collaborators. But how different, really, is Rogers’ ascent from that of any other nascent pop star? There are some misses: Piano ballad “Past Life” feels like a stab at “Writer in the Dark,” right down to arriving at the album’s halfway point, though it lacks the brazen weirdness that made Lorde’s song so sublime. And so, the 24-year-old spends her first proper album making sense of what it means to be Maggie Rogers after skyrocketing into a peculiar form of semi-stardom. We want to hear from you! Maggie Rogers – ‘Heard It In A Past Life’ review Maggie Rogers writes empowering, honest songs about falling hopelessly in love, getting your heart broken and discovering your self-worth. Send us a tip using our anonymous form. Unlike most viral stars, ... Heard It In A Past Life, has arrived to quench any doubts. At its core, Heard It In a Past Life is a collection of self-searching moments: miniature mental flashbulbs of realization from a young adult striving to adjust to the swiftly shifting world around her. While Rogers has criticized the Pharrell narrative as “so fucking dainty,” that restraint preserves her as the meek deer in the headlights, the girl who got lucky, not the ambitious auteur ready to set her own fate. The evolution of those tracks — from the sparse electro-folk origins of the oldest songs like “Alaska” and “On+Off” to the grand, Eighties-inspired, Greg Kurstin-produced bombast of “The Knife” and “Retrograde” —mirrors the story of perpetual self-change that Rogers is narrating throughout. Then there’s Maggie Rogers, a 24-year old singer and producer from rural Maryland, whose rapid rise to fame came she detonated Pharrell Williams’ mind with her starry-eyed, folk-tronica banger ‘Alaska’ at a university masterclass, a video of their encounter – and his amazement at her talent – a viral moment that has now passed into modern pop cultural folklore. Precise instances of clarity, infatuation, and confusion abound, yet the underdeveloped writing offers mostly exposition instead of the potential for Robyn-like communal revelations. Pitchfork is the most trusted voice in music. The songs, which draw on muscular pop rock, synth-driven electro pop and Seventies singer-songwriter piano balladry, reflect Rogers’ wide-reaching tastes. Rogers wrote, co-produced and arranged nearly all of the album’s 12 tracks, which play like a carefully crafted pseudo-concept-album song cycle: turmoil and reflection in the first half, love and hard-won resolution in the second. This student at the Clive Davis Institute had just started incorporating electronica into her folky songwriting when the visiting producer poured lavish praise on her class project, “Alaska.” It is ironic that a song about a recent personal reclamation (“And I walked off you/And I walked off an old me”) led to a renewed loss of control in Rogers’ life, one that she has likened to a violation, or, in the naturalistic songwriting she prefers, a bout of freak weather.

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