Beabadoobee – ‘This Is How Tomorrow Moves’ album review: third time’s the charm
THE SKINNY: In her third studio album, This Is How Tomorrow Moves, Filipino-born English singer-songwriter Beatrice Laus, better known by her stage name Beabadoobee, has brought a diverse collection of snappy indie pop tracks. Though few of the songs surpass the three-minute mark, Laus makes use of all 12 inches of real estate to explore a range of emotions, musical styles and instrumental ideas.
In her previous records, Laus admitted to all too often writing in retaliation to or reflecting on the actions of others against herself. With the odd exception, such as ‘Real Man’, Laus presents This Is How Tomorrow Moves with a reflective nuance. Highlight moments like ‘Tie My Shoes’ and ‘Beaches’ hear the 24-year-old songwriter reflecting on her own actions and feelings as much as anybody else’s.
The thematic mood changes throughout the album from lovelorn lamentation through pensive optimism to cautious contentment. To describe it as a concept album could be a push, but in almost every song, Laus addresses a romantic interest or ex-partner. By the end, this theme verged on monotony, which would be my only major criticism of the record.
Sonically, the album has plenty to offer. The dynamic and versatile vocals we have grown to expect from Laus return in full force, this time with Rick Rubin and his famous Shangri-La studio at her fingertips. Working with Rubin and a fine selection of session musicians, Laus has created her most consummate record to date with tight instrumentation that ranges from momentous rock-outs to gentle, ruminative ballads.
For fans of: Romantic comedies, Coachella and rain on a sunny day.
A concluding comment from Big Lez: “If Beabadoobee is a question, my answer is yes. The music is alright, too!”
This Is How Tomorrow Moves track by track:
Release Date: August 9th | Producer: Rick Rubin | Label: Dirty Hit
‘Take A Bite’: This propulsive opener is held together by some well-produced rhythm and lead guitar parts. Meanwhile, Laus sings about a romantic interest whose eyes she wanted to “see the world in colour” through. [3.5/5]
‘California’: You are mistaken if you thought this would be a 21st-century update to the titular muse of Joni Mitchell’s like-titled Blue cut. While Mitchell sang longingly of returning to the sunshine state, Laus bemoans “spending too much time” there. [3/5]
‘One Time’: As in many songs on the album, Laus addresses a former partner. After the first titular refrain, the song enters an unexpected yet enjoyable transitional section with heavier instrumentation before a pleasant guitar solo in the second half. [3/5]
‘Real Man’: Surfing on a lighter acoustic guitar rhythm, this song is the first break from the album’s modal indie-rock sound. The gentler instrumentation allows Laus’s vocals to take centre stage as she accuses her lover of not being a “real man” because he didn’t join her for a dance. [3/5]
‘Tie My Shoes’: Maintaining the subdued tempo, Laus treats us to a breezy, country-tinged tune. Again, well-placed guitar structures provide rhythm and melody to enrich the soft, emotive vocals. [3.5/5]
‘Girl Song’: Offering some more variety to proceedings, this piano ballad hears Laus in a plaintive and reflective mood. Like Daniel Powter, Laus has “had a bad day,” but I enjoyed hearing about hers a lot more. [3.5/5]
‘Coming Home’: As the run of tranquil, stripped-back songs continues into the heart of the album, Laus brings a shade of optimism to a bounding acoustic rhythm. The almost whispered vocals join gentle piano flourishes in a pleasant harmony. [3.5/5]
‘Everseen’: The country-inspired instrumentals return for an evocative intro section before a return of texture. Into the second half of the song, an interesting drum beat gradually revs up to full speed with some brass accompaniment. [3/5]
‘A Cruel Affair’: A positive, bounding rhythm recalls the 1980s jangle pop era. Some discerning guitar textures elevate this track, combining disparate yet complementary tones. [3/5]
‘Post’: A more conventional indie rock beat returns in ‘Post’. Following a standard structure of suppressed verse and intense, thrashing chorus, Laus closes the song in a noisy reincarnation of early-1990s shoegaze. [3.5/5]
‘Beaches’: In what might just be the finest of the rock songs on the album, ‘Beaches’ hears a fine vocal performance accompanied by some enjoyable rhythm guitar and a soaring lead solo. [4/5]
‘Everything I Want’: This acoustic ditty builds in intensity with some pleasant but familiar vocal passages. In one of the album’s more positive love songs, Laus seems hopeful after finding a muse who is everything she wants. [3.5/5]
‘The Man Who Left Too Soon’: Conjuring the ghost of Elliott Smith, Laus gives a whispered yet dynamic and captivating vocal performance. A simple acoustic progression meets some more extravagant flute-led instrumentals towards the close. [3.5/5]
‘This Is How It Went’: This sentimental song has a fittingly conclusive feel to it. A waltzing rhythm cascades in harmony with some lullaby-like melodies as Laus brings another enjoyable vocal performance. [3.5/5]
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