Lea Thomas – ‘Cosmos Forever’ album review: overwhelming simple pleasures
THE SKINNY: Folk or indie artists rarely dabble in that unspoken space between confrontational lyricism and laid-back contemplation. Usually, it’s one or the other and comes bolstered by relaxed finger-picking or aggressive anthemic riffs. Since emerging onto the scene, Lea Thomas has been hard at work reinventing what it means to be one of the masters of atmospheric sound pioneers.
Cosmos Forever evades easy description not because it’s unique; rather, it sees Thomas toying with various genres and tropes to create something that’s direct but not invasive, laid-back but not boring, and contemplative without veering into jarring. Though a short but sweet record, every moment, every note, and gentle brush of vocalisation fascinates with charm and visceral impact, creating a rich tapestry of emotional nuance.
In places, the subtleties within Cosmos Forever almost fade to black, but the quietness refuses to incite disengagement by instead inviting space to think, reflect, and fall deeper into the vastness of Thomas’ musical world. Despite the delicacy of the notes, the record seems to adopt a certain unpredictability that flits between slower and more considered passages and ones with sudden bursts of emotional intensity, resulting in an interesting interplay that delights but never startles.
Instead of offering ambiguity with her musings on human existence, Thomas presents direct wordplay, which frequently contrasts with the more laid-back constraints of the musical arrangements and invites more active listening, encouraging the unravelling of layers of meaning beneath the soothing surface. Above all, it’s a masterful effort at atmospheric immersion, one worthy of undivided attention.
For fans of: That glorious moment when you finally begin to drift to sleep.
A concluding comment from a nightclub DJ: “A bit too slow and cozy for my liking. Doesn’t anyone enjoy fun anymore.”
Cosmos Forever track-by-track:
Release Date: September 20th | Label: DISCO | Producer: Lea Thomas and John Thayer
‘The Gift’: No preconceptions are needed with the opener to Cosmos Forever, as Thomas boldly yet masterfully embraces minimalist arrangements and themes of grandeur. With direct and confrontational lyrics that bother less with the unnecessary nature of lyrical overuse, ‘The Gift’ nurtures, inviting a world of laid-back discovery. [3/5]
‘We Must Be In Love’: Thomas is fearless with executing boundless notes, contrasting and melding together with delicate yet deliberate precision. All elements flit between the atmosphere’s dichotomy, while the cutting presence of the guitar feels akin to the vastness of a desert landscape; overwhelming yet simple in visual presentation. [3.5/5]
‘Cosmos Forever’: Thomas’ folkish is exercised with restraint here, with simple notes that dance around and between her vocalisation in a captivatingly sensual manner. Even as the beat gains, the directness feels veiled in delicate simplicity, with a quietly contemplative atmosphere that draws you in from start to finish. [4/5]
‘Bauhinia’: This track seems to bring Thomas’ musical adeptness to the fore, the biting guitar that introduces the initial notes setting up a deceptively biting landscape before her vocals shine through in a typically ghostly and haunting fashion. [3.5/5]
‘A River Runs Through’: Thomas’ vocals lead this ethereal track like a light breeze as the guitar work contrasts with a more deliberately confrontational feel, almost like the melodic finger-picking suggests various, clashing emotions, weaving a tapestry of tension. [3/5]
‘Thousand Leaves’: “Here is a thousand leaves holding on/ Nobody knows when tomorrow will come/ Here is a robin fat with worms/ Nobody knows how tomorrow will turn.” ‘Thousand Leaves’ provides an undeniable standout, the introductory section washing in like soft ocean waves as Thomas presents daringly direct lyricism, offering comfort in uncertainty. [4/5]
‘You Belong To No One’: A soft and considerate closer, ‘You Belong To No One’ may seem a subtly less engaging affair, but its core reflects the endlessly clashing feelings of existential push and pull. There’s always an intrinsic quietness in Thomas’ music, but instead of incorporating passive tropes, she balances the art of understated depth with a contemplative, almost meditative approach. [3/5]
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