Alternative indie-pop singer Claire Rosinkranz released her second album, “My Lover,” on Friday, experimenting musically as she develops a coming of age story that explores her perspectives on love, death, family and nature.
Rosinkranz will perform the premier track on the album, “City,” on the “Today” show Tuesday. The song’s lyrics tell the story of a night out in New York City, exploring the excitement, nervousness and exhaustion of a good party.
While several of the songs like “City” and “Lucy” have the classic upbeat, alternative funk expected from Rosinkranz’s debut album, other tracks, like “Funeral” and “Bleeding Violet” explore a more emotional side of the young artist.
“I feel like a lot of people have seen the very funky, all-over-the-place, fun Claire and the fun music, and I think that’s still something that remains in this project,” Rosinkranz said in an interview with Who What Wear. “But I think the side that a lot of people haven’t seen is the more articulate and deeper songwriter side of myself. That’s a side of me that I feel like has been around for a really long time, so it’s something that I’m excited to put forward in this project.”
She succeeds in doing just that by incorporating different styles of music throughout individual songs. Whether that be through changing time signatures or layering harmonies over one another, the artistic manipulation of sound elevates the lyrics beyond the words on the sheet.
The best example of this sound layering is through the song “Chronic.” The song begins with just voice and piano, introducing a vulnerable sound in a song about depression. “Chronic” does a wonderful job showing the dynamic nature of what is typically displayed as a passive, unchanging mental condition.
After the first verse, another voice layers on top of the first, showing how the pressure of depression builds, feels controlling, then crashes. This crash is experienced as a spiral from the structure of the first two controlled verses through a scale progression of voices, piano and electronic drum beats.
The song then returns to lower energy, changed by the addition of a light guitar strum in the background sound, displaying the changing pressure of depression from day to day.
Most songs on the album have their own twist in a similar manner, mixing Rosinkranz’s classic style with this new, vulnerable side. In contrast to her first album, several songs use an acoustic guitar to accompany electric sounds from the keyboard.
While the album is marketed as a “rebrand” of the maturing artist, most of the songs still touch her iconic music structure through the use of beat drops, energy changes and faster progressions. Older songs like “Frankenstein” and “Backyard Boy” are unlikely to fall in their popularity, but newer tracks like “City” and “Dancer” bring the same energy to the table, giving fans a familiar taste of the creative sounds they fell in love with.
With “My Lover,” Rosinkranz proves that growth doesn’t mean abandoning the bright, kinetic sound that defined her early work, but rather deepening it with sharper vulnerability and musical experimentation. The result is a coming-of-age album that feels both familiar and newly intimate, signaling an artist confidently stepping into her next chapter.
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