Dec. 21, 2023
By Rayan Yamout
Staff Writer
Through the use of classically influenced instrumentation, Icelandic singer-songwriter Laufey creates a nostalgic mood in her music.
In “Bewitched,” which was released on Sept. 8, Laufey sings about the emotions one feels as a teenager and young adult. The old-school accompaniments and techniques Laufey uses contradict her lyrics, whose themes are similar to those in contemporary songs.
Laufey’s approach to production, or in this case recording, heavily differs from many of the songs one might hear topping today’s charts. “Bewitched,” Laufey’s sophomore album, includes traditional features of jazz accompaniments, such as soft percussion with the use of brushes on snare drums and dreamy melodies played on a vibraphone underneath Laufey’s vocals.
Laufey composes her own songs, but she is no stranger to covering jazz standards.
In her debut album, “Everything I Know About Love,” she delivers a cover inspired by Chet Baker’s rendition of “I’ve Never Been In Love Before” from the original Broadway performance of “Guys and Dolls.” In “Bewitched,” Laufey includes her cover of “Misty,” another standard that is commonly associated with Ella Fitzgerald’s rendition of the song. Her warm tone compliments the structure of this track, sharing stylistic similarities and techniques with Fitzgerald as if she were made to sing it.
Laufey’s sophomore album, includes traditional features of jazz accompaniments, such as soft percussion with the use of brushes on snare drums and dreamy melodies played on a vibraphone underneath Laufey’s vocals.
The influence jazz has on this album is evident, especially in the opening track, “Dreamer.” The song starts out a cappella, with Laufey’s layered harmonic vocals providing an introduction and setting the tone for the rest of the album. In this way, “Dreamer” is reminiscent of the song “Mr. Sandman” by The Chordettes.
In “Dreamer,” Laufey sings, “And no boy’s gonna be so smart as to / Try and pierce my porcelain heart / No boy’s gonna kill the dreamer in me,” which is from the perspective of someone who just ended their relationship.
Lyrically, Laufey takes a pop-esque approach to her songs. In “Second Best,” she shares her experience of being in love and doubting the other person’s interest, singing: “Why am I still wondering / If I stand a chance or if you’d have me back?” These lyrics resonate with today’s generation and how teens and young adults fantasize about a relationship to which they are unable to commit.
In addition to using characteristics of the jazz genre, Laufey includes elements of classical music. The crescendo of strings at the start of “Haunted,” followed by the enchanting cello played on top of the string choir acknowledges Laufey’s roots as a classical musician.
About halfway into the song, it transitions to a smooth bossa nova beat with electric and acoustic guitars and complementary violins.
In “Haunted,” Laufey uses eerie imagery in her lyrics to describe how she feels as she thinks about her love interest. As she accents the orchestra, Laufey sings, “This will end, ‘til he haunts me again,” describing how often she is infatuated with her lover.
Laufey has an incredibly invested fan base that rightfully admires her work. Therefore, when the tour of this album was announced on May 15, national tickets sold out within 20 minutes.
Since versatility has been a key aspect of her music career, Laufey’s discography offers a unique experience that draws in new listeners regardless of how familiar they are with jazz and orchestral arrangements.
This album is like a bewitching time machine, and listeners are certain to love every minute of it.
