Studious student and applied to the school of indie-pop, Maggie Rogers offers a second album under the sign of emancipation. More fleshy in terms of arrangements (sometimes almost rock) than his previous album, Heard It in a Past Life (2019), it exudes this manic precision betraying the caution of the one to whom the music industry with a capital “I” promised glory and Grammys. A bit of madness would do her good: if Rogers already has the air of an effective songwriter, as evidenced by the strongest songs of the album, the extract That’s Where I Am (a reminder of his first success, Alaska) or Shatter (with the participation of Florence Welch on backing vocals), pop-rock firecracker like The Cars, everything is presented too smoothly. Add that to her interpretations, the Achilles heel of the young American: Maggie has a beautiful mature voice, but everything, her doubts, her disappointments, her amorous passions, is sung with this same detachment which borders on boredom, hers like ours.
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