Raye’s new album is a masterclass of cinema crammed into a record. The record begins with an oral introduction that sets the scene: a girl in a red dress walks down the pathway along a road, lost in Paris, with a “perfect storm brewing.” As the orchestra built in the background, I was mesmerized by Raye’s ability to fully immerse the listener in her world. “Intro: The Girl Under The Grey Cloud” is a flawless track one.
The same orchestra continues into the next track, “I Will Overcome.” Immediately, Raye’s vocals here reminded me so much of Amy Winehouse, and the main idea of the song also imitates Winehouse’s own struggle with the media. Raye’s ability to create catchy and unique yet somehow conversational choruses remains one of my favorite aspects of her discography.
“Aren’t we all broken people, just perfect how to hide it?” Raye sings, the orchestra piquing behind her voice. The song builds and builds, and just when you think it can’t get any better, Raye bursts into a high note, a climax that emphasizes that idea that anyone “can overcome.”
While the previous tracks were different for Raye, “Beware.. The South London Lover Boy” is very on brand for the artist, as a jazz atmosphere returns. I want to speak once again about Raye’s incredible power to create catchy lyrics and melodies that just flow so well. Midway through, the switch in this song surprised me; however, the snaps and jokingly sinister vibe that follows the new melody help the song finish on a high note, which is hard to do these days with a song that is over three minutes.
“The Whatsapp Shakespeare” has references to Romeo and Juliet that are so genuinely placed in the song that I was left in awe when I first heard it. Firstly, the chorus is simply amazing, incorporating phone notification sounds to emphasize the song’s comedic response to the increase in romantic messages sent through texting apps. Raye is poking fun at the lack of “actually trying” in relationships nowadays, as many people experience “situationships” in attempts to “find love.” On this track, Raye warns, “Run, Juliet, run, Juliet, run, silence all notifications,” while questioning her lover: “‘Wherefore art thou, true love?’”
“Winter Woman” was my first favorite song from the album. The drums, the vocal layering, the lyrics, and also just the general atmosphere of this track, which feels like a gray and cloudy winter day. Here, a new season begins.
The record is split up into four sections, with each side of the two vinyls representing a different one. Tracks one through four begin the album in autumn and with “Winter Woman,” the winter section of the album is introduced. Continuing with the hopeful theme, Raye sings: “I’ll wait and pray for warmer days to come.” The phrase “life goes on” repeats during the bridge, accompanied by the main “winter” orchestral phrase from “The Four Seasons” by Vivaldi. As a violinist for the past six years, this part of the song hit home, and I was mesmerized.
One of the singles from the album, “Click Clack Symphony” follows “Winter Woman” with a feature from Hans Zimmer. Raye, once again playing on the theme of hope, plans a night out with her friends, the “click clack” representing the sound of high heels on a road. The song continues to build slowly until the end, when Raye performs a speech-like segment, confidently stating, “the cold never lasts, my darling. It just teaches the heart how to burn.” The orchestra bursts into a heavenly composition as one is able to take a moment to think about the words that have just been spoken.
“I Know You’re Hurting.” follows, which is probably the most emotional low in the album, as the winter section continues. The slow verses are not as interesting as the chorus, which is another classic “Raye moment.” Drums and strings play while layered vocals ring.
However, the album switches for a brief moment with “Life Boat,” which starts with a message from Raye’s grandmother: “Don’t work too hard, have a rest.” This message sets the tone for the entire rest of the track, which is sort of like a rave in a bottle; strobe lights and giant speakers repeat the phrase “I’m not giving up yet” as an electro beat takes over.
This song is another highlight for me, as it emphasizes Raye’s versatility and ability to create music that spans numerous genres. In an era of short attention spans, including this song on the record helps move things along and contribute to the overall flow well.
The spring segment of the album begins with “I Hate The Way I Look Today,” and dare I say, this song is too jazzy for me. Another classic Raye song, this buoyant part of the album was not made for me. While the confident message of the song stands clear, that one should not doubt their abilities, the production is uninteresting and redundant.
Known for rebirth and new beginnings, “Goodbye Henry,” featuring Al Green, is a song that highlights this album’s masterful track listing.
“This is a sad sad,” Raye begins to sing as a relaxed drum beat follows. Each time I hear this song, I can’t help but move my body side to side. One of my favorite lyrics from this whole album is on this track: “In case you’re driving to work and every bloody left turn you take just so happens to be down memory lane.”
The highlight and climax of this whole album, however, happens during “Nightingale Lane.”
“This is a song about the greatest heartbreak I’ve ever known,” Raye states. As previously mentioned, Raye reminds me so much of Winehouse, with grand vocals that seem impossible and the ability to create a sentimental atmosphere within the first fifteen seconds of a song.
“Somebody loved me once, and someday, somebody will again,” sings Raye, reminiscing about times spent on Nightingale Lane, in South West London, which is also a nod to previous tracks. This is my favorite song on the album; the chorus is probably one of the greatest things I have ever heard and the production is so smooth and moving.
The funky and soulful “Skin & Bones” concludes the spring segment of the record, as Raye pokes fun at a past lover, who has “skin and bones and lungs and a heart” but “no brain.”
Summer begins with “WHERE IS MY HUSBAND!” The drums and horns here are irresistible, and a head bop is inevitable as Raye looks for a potential partner to settle down with. The melody, so unique, is another classic moment on this album that only contributes to its vibrant personality. The bridge of this song is so ingeniously built and very catchy.
On “Fields,” Raye speaks to her Grandad Michael on her deep desire to “be free” and “roll down a hill in a field of golden and green.” While lyrically very heavy and telling, I must say this track did not impact me as much as I think it should have. Raye’s vocal layering is on full display, but the production of the song as a whole is lacking.
The pop-soul anthem “Joy,” which features Raye’s sisters Amma and Absolutely, explores loud themes of joy and happiness while emphasizing the content themes of “summer.”
This segment of the album ends with a track titled “Happier Times Ahead.”
“Life is not fair, life can be hard,” Raye explains. “But we only get one…there will be happier times again.”
As the final musical track of the album, “hope” is at the forefront as reassuring lyrics are repeated and happy drums play. A record such as this can only conclude with a track so positive.
The album, however, finishes with a track titled “Fin,” a six minute track in which Raye “rolls the credits” and lists the names of every single person that was involved in creating the record, from producers to writers to members of the orchestra.
I would give “This Music May Contain Hope” by Raye 8.5/10 stars. The album flows very well and has a sort of uniqueness that only Raye can curate. And the message of the album deserves to be sung out loud.
