Taking a rockier, bolder turn, Maggie Rogers’ indie pop became more defined and punchy. Surrenderthe second album by the American singer-songwriter, has a lot going for it.
Surrender is proof Rogers was unlucky with the play Alaska and the superb album that followed, Heard It in a Past Life. As a reminder, the singer had been noticed by Pharell Williams during a listening session at NYU, propelling Maggie Rogers into the spotlight. More than six years later, three years after her first album, the young prodigy offers another winning recipe, with basic flavors similar to the first, but whose ingredients and final result are more refined.
Totally self-produced, with the support of the fabulous Kid Harpoon (Harry Styles), the album is dominated by limpid markers which give it harmony and coherence. Maggie Rogers set a clear vision to music. The electric guitar is much more present, impetuous. The tempo accelerated. The voice is adventurous, but does not attempt anything disadvantageous to it.
Since Heard It in a Past Lifethe singer-songwriter has made her approach more complex, added layers to her danceable and soaring pop.
And, at the same time, one thing does not change: Maggie Rogers knows how to compose excellent pop songs, with catchy refrains, riffs lively and with strong hooks (Want Wantfor example, benefits from a hook great).
A piece like That’s Where I Am clearly shows us the change of course, taken with caution. horsesmelancholy and mainly acoustic, brings us back to the register of the first disc, just like the catchy Be cool. Shatter is imbued with this rock spirit that pervades the whole album, but keeps at the same time this pop hook that the singer seems to be able to breathe into everything she produces.
Maggie Rogers never seemed to lack confidence, vision, talent, but Surrender shows that it can surpass itself, while retaining its convincing signature.