Logical Realizations Meet Up with Illogical Reasonings
Liza Anne’s had her voice out there for all to hear for almost a decade now and to pass up her versatility as a musical artist would be a mistake for any music-listening folks. Similar to other entries she’s made, she doesn’t miss with 2023’s release of Utopian, an album overwhelmed by angry rock and, simultaneously, this seemingly ultra-poetic approach to lyric-writing. By its last minute, audiences are likely to reach the conclusion that it’s a bi-polar collection of tracks. Though describing it that way may seem unwarranted, especially considering the negative connotations of the word “bi-polar,” Anne puts her own spins on things and that’s what must be realized and noted. Perhaps, in fact, that is just what justifies its classification. This is a walk through her world, fantastical musings and all.
Dazzling guitars and chill synths are included time and time again on Utopian. That stylistic choice happens for all the right reasons, too. That is because they surrender the entirety of Anne’s vision here to this youthful energy. Lots of thumping is heard throughout, whether because of drums – as necessary as a heartbeat or other bass-like sensations, make the album feel defiant and lively. A whole cacophony of noise returns on multiple occasions- all in all, Anne keeps it young, therefore making matters sincerely naive yet meaningful.
Most of Utopian feels like a letter. Anne seems to be writing to some faraway being who’s wronged her in one way or another. Her unapologetic thoughts reach through with their grimy hands, somehow making clean the waxen ears of listeners. As in a lyric novel, her thoughts wander all about the place, lingering with simple purposes in mind. It may just be that Anne is channeling her inner Virginia Woolf, which is totally reasonable, considering her feminist lyrics on “Treat Me” echoing “Don’t treat me like that.” That track contains a crazy tempo, giving outer space a voice with celestial tones, the perfect music for travel at the speed of light, heartbroken astronauts floating from star to star nearby.
“It’s Cool To Care” is made up of a whining instrumentation. Anne sings, “You don’t have to drink the Kool-Aid, baby!” and it’s not entirely clear why, but is nevertheless just what’s needed. The bizarre nature of her lyrics helps to welcome all into her bubbly wandering mind. “Sentimental” is more mellow than the aforementioned song. Its distant guitar becomes the most ideal companion. Here Anne sings, “I’m stuck between yesterday and tomorrow / What do you call today?” The giant question mark that emerges out of that is compelling, room for lamentations is opened, the “could-haves,” as she puts it, still worth crying about.
“Shania Twain Is Making Me Cry” doesn’t seem to have any kind of connection to the artist mentioned in its title. It’s a lot more relaxed than its siblings and feels like this interlude of sorts. Coming in two tracks before the album’s halfway point, maybe that’s exactly what it is, to be fair. The drums are steady and cool, there’s this old timey guitar sound that’s used to induce this nostalgic feeling. Anne gets a tad political, it would seem, with her inclusion of “Internet Depression.” It’s almost this commentary on the ills of social media, her heartfully reflecting on the truest realities of it. If more convincing is needed, look no further than the dependent clause that is its first line: “Scrolling through versions of my friends I’ve never met.” That, arguably, says more about the topic than some critical scholarly essays ever will.
Utopian exposes Liza Anne’s flexibility. On it she does not stay trapped in one state, but rather exists between many. Her range is revealed and there’s a whole ocean to it. She keeps all engaged with punchy one-liners that possess little philosophies not to be excused without a second thought, like “This has been a hard year” on “Pack Light.” Neither the drums nor the guitars can go sans a mention. The same goes for Anne’s ability to be calmer than a sea after a storm, as well as her ability to tonally bring about the chaos of a hurricane.
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