Sarah Kinsley – ‘Escaper’ album review: A new standard for contemporary visionaries
THE SKINNY: When Lorde released Melodrama, a wave of aspiring musicians felt ignited, ready, and energised by the prospect of creating something equally musically exciting. According to Sarah Kinsley, Lorde achieved something others hadn’t in a long time: she created music that was both richly satisfying—juicy and sweet—while also feeling limitless, transcending the worlds she created.
This was followed by a surge of equally captivating releases, like Lana Del Rey’s Norman Fucking Rockwell and Mitski’s more recent album, The Land Is Inhospitable and So Are We, to name a couple. The breadth of musical exploration and the quality of these works seemed to be the domain of artists who knew precisely how to balance the experimental with the accessible.
Many others leaned too heavily into one or the other—too experimental or too overtly pop—failing to achieve the lasting impact of those who found the perfect balance. But Kinsley’s latest release, her first full-length LP, Escaper, proves that she has far surpassed the finishing line, her passion for producing and singing establishing her as a world-class artist and a well-rounded visionary with an incredibly promising future ahead.
From start to finish, Escaper is brimming with unexpected turns, Hollywood-style romanticism, and fantastical ventures, with the light and dark elements merely a passenger princess to Kinsley’s commanding vision and emotional depth. Listening to the album at certain points beckons comparisons to other contemporaries, like those aforementioned and nostalgic maestros like Kate Bush, but once the needle lifts at the end of the 12-track run, it’s clear that her sound is uniquely her own, a singular voice carving out its own space in the modern music landscape.
For fans of: The shot in Gladiator where a hand wafts over the tall grass—albeit, I can explain why this image is conjured by Kinsley’s work.
A concluding comment from a record store owner: “This feels both like nothing I’ve ever heard before and everything I’ve ever listened to and loved.”
Escaper track by track:
Release date: September 6th | Producer: John Congleton & Sarah Kinsley | Label: Verve Forecast
‘Last Time We Never Meet Again’: Kinsley wastes no time pulling you in with ‘Last Time We Never Meet Again’, a song that proves Kinsley’s ability to tick all boxes without being too obvious about the fact. With a vocal delivery that feels reminiscent of The Kick Inside, it’s difficult to suggest any album opener that’s more perfect than this. [4/5]
‘Realms’: Kinsley’s worlds are always boundless, sometimes jam-packed, and never boring. As a lover of the moments that converge the real and the fantastical, ‘Realms’ feels completely unrestricted by the rules of creativity, Kinsley’s vocals pulling you in but rarely distracting from the overwhelm she masterfully delivers. [4/5]
‘Glint’: With colourful notes and swirling melodies, ‘Glint’ satisfies the pop-hungry heart without compromising on rich textures and unique energy. It glistens through Kinsley’s vocals while the accompanying arrangements provide a constant spacious feel that invites multiple thematic interpretations. [3.5/5]
‘Sublime’: Kinsley remains one of the most intriguing new artists if based solely on unpredictability alone. ‘Sublime’ begins slow, playful, and experimental, but after around 50 seconds, the change of pace and infectious melody heightens the listening experience, making this the most exciting record in the realm of alt-pop since Melodrama. [4.5/5]
‘My Name Is Dancing’: This track manages to prove Kindley’s prowess for reaching the spaces just outside of pop convention, pulling back just before it becomes too out of reach. It’s dizzying in a way that feels enlightening rather than jarring. [3.5/5]
‘Beautiful Things’: This tender entry introduced a calmer, more reflected atmosphere to an album already filled with a multitude of emotions. While there is something Lana Del Rey-esque about Kinsley’s vocals, the entire track turns at unexpected moments, the pain-tinged aspect of Kinsley’s delivery stealing the show and rendering any comparison to another contemporary artist obsolete. [4/5]
‘Barrel of Love’: Kinsley not only raises the bar, she smashes expectation, establishing new heights never previously deemed achievable. ‘Barrel of Love’ begins delicately before lifting off in the mid-section, revealing a less forgiving side to Kinsley’s demeanour and a freer feel to the overall production. [3.5/5]
‘Matter’: Executed with a more traditionally indie-pop edge, ‘Matter’ feels predictable but necessary, proving that the genre is far from stale. [3/5]
‘There Was A Room’: In a daring twist, ‘There Was A Room’ begins with a somewhat 1980s ballad feel, Kinsley’s voice appearing cutting yet soothing, the earlier comparisons to Bush coming to the fore once again. [4/5]
‘Knights’: Diction is relatively underappreciated in the contemporary music industry, particularly after just witnessing the rise and fall of “cursive” singing. However, Kinsley, and songs like ‘Knights’, prove the power of delivering messages loud and clear without tainting the overall feel of the music with an unnecessary level of aggression. [4/5]
‘Starling’: Another track that delves into the darkness that pervades the edges of modern-day romance, ‘Starling’ arrives with a gravelly execution, Kinsley’s ability to oscillate between beauty and scorn proving her ability to both captivate and ignite once again. [4/5]
‘Escaper’: Bringing the album to a close on a dramatic, orchestral note, ‘Escaper’ is like waking up from a deep sleep and drifting into a much-needed slumber wrapped in one. If only this LP was longer. [4.5/5]
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