Sarah Kinsley is much more than a TikTok one-hit-wonder.
If her recent EPs weren’t enough to convince you of that, there is no doubt that her long-awaited debut album puts any questions about Kinsley’s musical prowess to rest.
12 tracks of alternative pop make up “Escaper,” both Kinsley’s first full-length release and co-produced project. It is evident that Kinsley has honed in on what made her 2021 releases stand out, refining her writing and vocal performance in a graceful return to form. With industry veteran John Congleton lending his production talents to the album, the result is a cinematic, genre-bending collection of nostalgic songs fit for nearly any mood or occasion.
Vocally, Kinsley falls somewhere between Chappell Roan and a more versatile, supported Lana del Rey, effortlessly switching between her low, smoky register and sirenical head voice. The inflections and phrasing of her vocal style have matured since “The King,” resulting in a distinct and addictive timbre that adds richness to every song, from upbeat tracks like “My Name Is Dancing” to slow, somber ballads like “Beautiful Things.”
When Kinsley’s vocals are given room to breathe, her tracks are nothing short of ethereal: whimsical, lilting poetry woven over beds of piano, synth, and strings. It’s unfortunate that some of the songs towards the beginning of “Escaper,” namely “Realms” and lead single “Last Time We Never Meet Again,” struggle to keep their bright instrumentals from muddying Kinsley’s singing at times. The core of this album is undoubtedly her voice, and the brief moments that the audio mixing doesn’t reflect an understanding of this are frustrating — thankfully, these segments are sparse.
The fact that two of the three singles from “Escaper” (“Realms” and “Last Time We Never Meet Again”) are, in my opinion,the album’s weakest, isn’t ideal. The two are composed in a similar fashion, which may give unfamiliar listeners an inaccurate picture of the versatility and depth that “Escaper” contains. Luckily, the third single, “Starling,” is one of the album’s strongest tracks. Elegant lyrics — “We are face to face with a love of the ages and my, my, my, I do not know if this heart of mine is enough to take it” — build up to a soaring string outro that encapsulates all the wistfulness, hope, and love that is ribboned throughout the tracklist.
Kinsley’s unique style of lyricism and theatrical compositions sets her apart from the likes of “new pop girlies” Sabrina Carpenter, Tate McRae, and Gracie Abrams. Her songs feel much more sonically at home among the work of artists like Mitski and MARINA. “Barrel of Love,” one of the standout tracks from the album, showcases Kinsley’s mastery of the modern heartbreak anthem: “Your love is a heart, but it’s aimed like a weapon,” she croons over a mournful acoustic guitar. For those who prefer head-boppers that emphasize vibes over lyrics, songs like “Sublime” may be more appealing — and for everyone in between, “Knights” offers both danceability and introspective storytelling.
While it may be a bit too experimental to find itself on the Billboard Hot 100 anytimes soon, “Escaper” is a captivating piece of work, brimming with theatrics and emotion that resounds through every measure. Alternative and indie pop fans would be remiss not to give it a listen — whether you’re looking for a new song to dance to alone in your room or an addition to your sad-girl-autumn playlist, Sarah Kinsley has you covered.
