What happens when folksy synthpop matures the house?? In Jordana Nye’s example, the cozy, lo-fi vocals for her soon Bandcamp recordings appeared to flower in a hundred locations together at the same time. Her 2020 discovery Something to Say to You is like a sampling, charting futures in understated electro-pop, sincere music tunes, or experiment. 19 upon the album’s update, the Maryland citizen snapped understated talent as a maker and singer, grasping a breadth of features without writing about some of them.
One can’t feast on katy forever. On the follow-up, Face the Wall, Jordana and co-producer Cameron Hale implode the disparate elements of her earlier work into a fuller view, clearer acoustics. The device is also still mainly artificial, the voice was gaucier than before. Related post “Something to Say to You”, strong rhythm blossoms contrasting with the track’s blurry merging. On “Pressure Point” and “Get Up” big percussion styles pass the delicate singing and helpful pauses into intense, wistful relief; percussion and one-note bass of the album “Play Fair” inspire a set of stop-start shifts.
There’s a deceptive performance to Jordana’s concerts dating all the way back to her top school-era recordings. Frequently her passages start in press res, with voice songs cleaning over the tunes in smooth vibration. Face the Wall!, her songs sustain a bedroom-tape conceptual: “Catch My Drift!” and “Difficult for Now!” have an expansive, second-person tributes instead of stories, skewing flat the warm tunes. The record’s greatest convincing scenes are all those when Jordana moves The ambiguity and develops from The planes. The superstar “Go Slow” conveys a familiar somberity, so far it is her greatest frank confirmation so far: “Focus has never been a friend of mine, half the time I’m not sure if I’m flying/I’ ll try, for certainty that I might find/Nothing works unless I take the time.”
Jordana has a tendency to mix into the image, it’s due mainly to her songs’ building difficulties. The nervy pre-chorus “Catch My Drift” explodes an ecstatic rack, additional improved by a collapse connection meaningful to an arena-rock concluding. In event, Face the Wall delinquents in beautiful ’90s signifiers — the arpeggios of “To the Ground” create a doppelganger for Shania Twain’s “You’re Still the One” — but not enough to distract from the production duo’s vision. With its sparkly guitars, call-and-response chorus, and chunky hip-hop drums, “I Mean That” plays like a Sugar Ray B-side you never thought to seek out.
Face the Wall bolsters Jordana’s resume with a cohesive full-length, suspending the polymath approach for a more professional statement. It’s a great record and has been a success, given the variety of Jordana’s catalog, doesn’t really surprise me; having mastered the nuances of production and songwriting, she’s still finding ways to make her voice clear. Yet her melodies are dynamic, her ballads are immune to teenage melodrama: the biggest hurdles are behind her.