With a whopping fourteen songs, each and every one seems to have its own personality, yet it’s distinctly part of the collective whole that is this album. It’s far from stagnant, as it features a handful of genres – pop, funk, a bit of rock and even latin fusion – through them, Stephanie Bettman was able to infuse different feelings and thoughts, as if the audiences are in for a treat of long rollercoaster ride, or a long awaited musical.
The flow of the journey and the story are so seamless that anyone can pick up the message right away. The ambiences are unique, well-placed and structured, as if you’re listening to a direct original soundtrack of a beloved show. “River Of Oblivion” offers a sense of mystery and the first taste of Bettman’s soulful voice. It’s all persuasive and encouraging in a way, in the midst of a great blend of harmonies playing about within a beat.
From the sharp and fast strikes of the acoustic guitar that starts “Beautiful Day” all off, you would know right off the bat that this one’s gonna be a good song – a lively one, for that matter. It’s musical-material, but besides that lingering idea, it gets the job done in terms of mood-lifting; the layered vocals all around are addicting: “Look up, the sky is not too blue / I perk up when I think of me and you”. In a story setting, this resembles the ‘calm before the storm’.
“Walking in a Dream” is an immediate resemblance of downtime; it’s mellow and it has a café vibe. In a way, it’s also nostalgic because of the singing techniques: it’s soft, sweet, and tingles in a pleasant way when you listen to it. Timeless, it paints a picture of a candlelit dinner – lyrically speaking, it dreamily describes a fantasy: “What if this is not as it seems? What if we’re walking in a dream?” The brass following the piano and the vocals is the cherry on top.
The sequence of songs are clearly thought out, as audiences now immerse themselves in a diverse group of sounds and arrangements, as well as topics in the coming songs. “Ain’t That The Way” is funky, and the chorus is fierce and catchy, with the guitar solo hitting the same way as it does. It fills in the gaps just right, as it’s a track that would get you moving. Despite the difference in sound profile, this has a similar theme as the previous track.
“Love Doesn’t Lie” is slower and isolated, adding points to the record’s variety. It showcases the prominence of the vocals in a different light, really giving the audience a taste of her pristine techniques, with the strings in the background adding a nice touch as well.
Moving forward to a song about finally being aware and deciding not to give in, is “Kryptonite”. There’s playfulness between the lines, and the pauses between each one are cheeky. In short, it’s a terribly endearing song: “Do I love the drama? Can I break this curse?” It describes the feeling that weakens her, along with other comparisons: “Like a spider in his web / Like a dragon in his lair”.
For some reason, the line “I’m always sorry when I don’t get to see you / But sometimes it’s good to stay away” hits hard in the song “Won’t Settle For Less”. It’s somber, and the vocals really soar in this one, emitting an aura of someone that is here to preach. Every instrumental element is gentle, a true accompaniment to the vocals. Honestly, it holds a sense of familiarity of timeless classics and artists like Whitney Houston.
It’s amazing how an array of emotions can be felt as we jump through one track to another. “Never Give Up” is the ideal song for the dancefloor, that’s for sure. The bass is amplified just a tad more, sealing every single promise and claim made in the previous songs. In contrast (sound-wise), “To Be Loved” is almost a cry, a moment of yearning, but every crescendo of the vocals are heavenly, as if cancelling all the possible misinterpretations from the previous songs in an instant.
“Gravity” is as isolated of a track as the last, but has a tamer, soothing ambience, allowing listeners to get a glimpse of her remarkable vocal range. In a way, this resembles the peace outweighing every other emotion within, through lines like “Inside, I’m floating weightless” and “Internal blossoming”.
Insightful and extremely mellow, “You Need To Know” is gentle yet it speaks of reality, like a soft slap to the face. The following lines are a personal favorite, as it speaks volumes and sums up what this song is about: “If I could love you enough, it would do you no good / Because life doesn’t work that way / You have to love your own pain away”.
“Move On” deeply contrasts the last track in terms of sound, but it also speaks of multiple truths line after line, making it an entire song filled with wisdom all the while having an addicting melody: “There are no victims, no villains / Just perspectives and the truth / Bigger than both of us”. Likewise, “Be Big” is as if it’s meant to be sung by a group or a crowd to prove a point – it exerts so much energy and it’s empowering at best.
To end the journey, “Dream Of Flying” is a feel-good and upbeat track that you could never go wrong with. You’d truly feel like flying, or soaring, even. The vocals themselves seem to have a specific aura within them, as if they’re filled with hope, which is possible to then pass on to the audience. “Out Of The Darkness” is truly a beautiful set of songs, one that you can be free to feel what you do and resonate with.
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About the Author
Kate Clarice Lee is a psychology major in Ateneo de Naga University with a knack for music and writing. She takes interest in playing guitar, poetry, creative writing, and lyrics that—subjectively—hit close to home. Kate mostly enjoys indie, alternative, pop & punk rock music.
