Heard It In A Past Life
At its core, Heard It In a Past Life is a collection of self-searching moments: miniature mental flashbulbs of realization from a young adult striving to adjust to the swiftly shifting world around her.
Rogers has a rare knack for dramatizing and finding beauty in these flashes, and for making them into three-minute pop songs. Rogers wrote, co-produced and arranged nearly all of the album’s 12 tracks, which play like a carefully crafted pseudo-concept-album song cycle: turmoil and reflection in the first half, love and hard-won resolution in the second.
The songs, which draw on muscular pop rock, synth-driven electro pop and Seventies singer-songwriter piano balladry, reflect Rogers’ wide-reaching tastes. She nods to forebears like James Taylor and Joni Mitchell as readily as she references contemporaries like Haim, Jack Antonoff, Taylor Swift...
—
Rolling Stone
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Heard It In A Past Life
At its core, Heard It In a Past Life is a collection of self-searching moments: miniature mental flashbulbs of realization from a young adult striving to adjust to the swiftly shifting world around her.
Rogers has a rare knack for dramatizing and finding beauty in these flashes, and for making them into three-minute pop songs. Rogers wrote, co-produced and arranged nearly all of the album’s 12 tracks, which play like a carefully crafted pseudo-concept-album song cycle: turmoil and reflection in the first half, love and hard-won resolution in the second.
The songs, which draw on muscular pop rock, synth-driven electro pop and Seventies singer-songwriter piano balladry, reflect Rogers’ wide-reaching tastes. She nods to forebears like James Taylor and Joni Mitchell as readily as she references contemporaries like Haim, Jack Antonoff, Taylor Swift...
—
Rolling Stone
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At its core, Heard It In a Past Life is a collection of self-searching moments: miniature mental flashbulbs of realization from a young adult striving to adjust to the swiftly shifting world around her.
Rogers has a rare knack for dramatizing and finding beauty in these flashes, and for making them into three-minute pop songs. Rogers wrote, co-produced and arranged nearly all of the album’s 12 tracks, which play like a carefully crafted pseudo-concept-album song cycle: turmoil and reflection in the first half, love and hard-won resolution in the second.
The songs, which draw on muscular pop rock, synth-driven electro pop and Seventies singer-songwriter piano balladry, reflect Rogers’ wide-reaching tastes. She nods to forebears like James Taylor and Joni Mitchell as readily as she references contemporaries like Haim, Jack Antonoff, Taylor Swift...
—
Rolling Stone
