Maggie Rogers is a pop/folk singer and producer form Easton, Maryland. She found some fame when she was featured on Parrell Williams’ masterclass from New York University. She presented the track “Alaska,” which would go on to feature on this album, to Williams who was blown away and called it “singular.” Thanks to the viral explosion of the clip, Rogers was courted by several record labels in a way that is somewhat rare today. In the end, she signed with Capitol records and dropped a debut EP, Now That The Light is Fading, in 2017.
Her sound is quite unique, as Pharrell Williams pointed out. Raised in a rural area, Rogers has strong folk influences and even played more straightforward form of folk music earlier in her life. Today, however, the folk roots remain, but filtered through very genuine dance and synth-pop lenses for an extremely unique sound. Excitement was high for her major label debut, and Rogers certainly didn’t disappoint.
Perhaps her most important talent is obvious immediately, that being a special knack for crafting vocal melodies. Particularly in her verses, each line is extremely singable. Tracks like the opener, “Give a Little,” and “Retrograde,” showcase this quite well as I found myself humming the verses well after my first few listens and enjoying choruses even more.
Additionally, her lyricism is very impressive, and it may be where her folk sensibilities shine the brightest. Much of her writing is very visual and often draws on gimmicks while turning them on their head for interesting nuances. Tracks like “The Knife,” and the closer, “Overnight,” showcase her writing exceptionally well, but the album as a whole benefits from her consistency in tone and aesthetic while crafting unique lyrics for each track.
Above all, Heard It In A Past Life is made infinitely better thanks to Rogers’ fantastic production abilities, particularly in terms of designing beats. Tracks like “Say It,” and “On + Off,” have obvious hip-hop influences, especially in their drums. On the other hand, tracks like the aforementioned “Alaska,” and “Burning,” have more natural pallets and utilize harmonies extremely well to build very unique and yet accessible songs.
On the other hand, her mixing abilities are a bit more questionable. While harmonies are extremely tight and well mixed, plenty of tracks seem to bury the vocals quite a bit, and the tracks overall could do with some brightening up. Some of this is a bit understandable as a strong focus is meant to be placed on the admittedly exceptional beats, but this synth-pop sound still draws a listener’s ears to the lead vocal and burying it just comes off as frustrating all too often.
Additionally, her voice itself is something of a mixed bag. While she gives incredible, powerhouse performances on tracks like “Fallingwater,” and the closer, “Back In My Body,” she falls short in two key ways on other cuts. Firstly, she simply doesn’t have the voice to command the more traditional, top 40 sound of a track like “Light On.” A more pervasive problem, however, is her strange pronunciation on long vowels and seeming refusal to open her mouth on a few tracks, the most egregious of which is “Past Life.”
Overall, there’s a lot to like about Heard It In A Past Life. Maggie Rogers has meticulously built an extremely distinct and exciting major label debut. Her production skills along with her more traditional folk background have fused in a way that has me extremely excited for the future.
While her sound could certainly stand some fine tuning in a few key areas, Maggie Rogers has established herself as an exciting force in the modern pop landscape.
HEAR HEARD IT IN A PAST LIFE: https://open.spotify.com/album/5AHWNPo3gllDmixgAoFru4