The alt-pop American singer-songwriter Maggie Rogers gained widespread recognition after her 2016 release of “Alaska” during a master class at the Clive Davis Institute of Recorded Music at the New York University Tisch School of the Arts. Known for her wise, clear-eyed, melodious voice, this prodigy is coming into her voice as she produces her third studio album. On Friday, April 12, Rogers released her new album — a splendid blend of modern pop, country, and psychedelic rock that asynchronously work together to create “Don’t Forget Me.”
This 35-minute album consists of merely ten songs, but the length does not affect its exemplary use of country folk. She imitates the soaring vocals of floaty country singers and intertwines melodies similar to artists that flourished in the early 1980s and ’90s such as Fleetwood Mac or Mazzy Star. The overall process of Rogers’ journey parallels her navigation with love and loss on her way to finding a calmer, more assured version of herself.
Starting the album with the upbeat track “It Was Coming All Along” brings a steady guitar-backed propulsion similar to that of a road movie. Listeners soon take a gloomy yet forgiving ride with a soft and accepting current. In this, Rogers’ reflections of memory and nostalgia intertwined with the pain that coincides with the revelation of the past are apparent.
Moving onto “Drunk,” Rogers sings “And I see stars that never, ever, ever looked this bright to me / Feeling on your skin never felt this right to me.” The music embodies the natural intoxication one feels by a person’s presence.
The first two tracks on this album propose to be a sheer introduction to a relationship filled with new excitement and exhilaration, but it is simply just a foretaste of what is yet to come.
The piano ballad “I Still Do” benefits from Rogers’ raw delicacy as the acoustic track shines into simplicity. Rogers playfully toggles with her heartbreak, bringing a period of pain and deprivation into a groovy upbeat sensation. Her voice is beautifully nourished by the bass strings in this piece which are expressive in their synergistic entirety.
Though not the most well-known, “The Kill” remains to be my favorite track on the album. It’s a churning spin on the push-pull dynamic and adds an exasperated cry of frustration to a somewhat otherwise desperate undertone. The western-inspired guitar riff and a thumping kick drum channel the empowered country-folk songstresses of the ’90s. The fresh composition proves to be her most cohesive and adjacent storyline yet. Rogers proves she can profoundly merge from any sort of heartbreak—whether it stems from love, loss or unexpected change.
“So Sick Of Dreaming” is a close second favorite on this album because the composition evokes a feeling of brightness and sets the scene for a more confident chapter as Rogers seeks meaning and purpose. She isn’t centered around sadness or heartbreak, but rather the self-awareness and assuredness that comes as a byproduct of growing through emotional turmoil.
Rogers lacks the use of belting and instead chooses to express such ardent emotions through a series of strings and intimate blips. “Don’t Forget Me” uses a delightfully wobbly bassline as she sings, “A good lover / or someone who’s nice to me.” Rogers grapples with feelings of uncertainty but is optimistic about the possibility of finding someone who is fully devoted and accepting of her faults. Rogers often sounds like she’s outrunning a certain life. Whether it is the white-picket-fence ideology or the thought of settling down, Rogers is in no rush to live a traditional life.
“Don’t Forget Me” represents acceptance and emotional enlightenment for Rogers. It is also her most sonically and lyrically cohesive work yet. Featuring some of her most captivating, folkloric songcraft – this album showcases the vivid storytelling and catchy melodies she’s become known for. Rogers, at last, sounds sure of her destination.
3.5/5