Writing Celeste’s second studio album may appear to have been a simple task at first glance. After gaining significant recognition from the BBC Sound of 2020 poll and having her track “A Cramped Admire” featured in the John Lewis Christmas campaign that same year, her debut album, “Not Your Muse,” launched at number one on the charts. It produced two major singles—“Stop This Flame” and “Unfamiliar”—and achieved gold certification.Such a successful start lays an excellent groundwork for a follow-up project: it brings acclaim, visibility, and success without overwhelming her creative process.

Nonetheless, the journey to create “Lady of Faces” has not been without its hurdles. Celeste has openly discussed her artistic disagreements with producer Jeff Bhasker—who boasts an impressive portfolio featuring collaborations with artists like Harry Styles, Taylor Swift, and Kanye West.Although she sought orchestral arrangements from British composer robert Ames, Bhasker reportedly limited their inclusion in the final product. Recently on Instagram, she voiced her dissatisfaction regarding the lack of support from her label during this project; she even hinted at withdrawing entirely if they insisted on including two specific tracks in its lineup—a revelation that raised eyebrows considering Celeste is signed to the same label where artist Raye expressed similar frustrations back in 2021 about being denied opportunities for her debut release—a situation Raye ultimately navigated by self-releasing a critically acclaimed album.

As you listen to “Lady of Faces,” it’s challenging not to connect with themes surrounding artistic autonomy or its absence; while it doesn’t venture into avant-garde territory—remaining true to its jazz-infused pop-soul essence—it also resists fitting neatly into mainstream commercial sounds.
The production achieves a harmonious blend between lavish orchestration while retaining an overall understated quality; for example, “Folk Always Change” begins with piano melodies reminiscent of Philip Glass’s minimalist style yet carries emotional depth throughout its tracks that confront societal pressures faced by women alongside narratives stemming from broken relationships.

Thematic Richness Within Melodic Sophistication

The tempo is intentionally slow—almost languid—with minimal percussion present throughout most songs except for brief interludes like during “On With The Camouflage.” The penultimate track “Could Be Machine” introduces surprising electronic elements paired with brisk beats addressing contemporary issues such as online harassment or artificial intelligence—alluding perhaps indirectly but pointedly towards modern anxieties regarding technology’s influence on our lives.
This thematic exploration feels both relevant yet timeless; drawing connections between ancient musical traditions—from pre-war vocal jazz influences through French chanson réaliste—to current narratives found within today’s pop landscape.

If there is any critique worth mentioning about this collection though it lies within its consistent tone which may render listening sessions somewhat tedious when experienced all at once; introducing more dynamic tracks akin to “Could Be Machine,” or even earlier standalone singles could have provided necessary contrast amidst this otherwise cohesive soundscape.
Nevertheless each individual song shines brightly enough alone—they would undoubtedly captivate listeners when featured separately across playlists making them feel fresh despite their collective presentation here as part of one larger narrative arc.

This Week Alexis Explored:

smerz / They Are Gutting A Body Of Water – Urban Life :
A reinterpretation project showcasing Smerz’s acclaimed work transformed by Philadelphia shoegazers into something ethereal yet profound.