The Queen of "Disaster Gravity"'s high expectations of "I Forgive You" is her second album as a singer-single-songwriter, and the first release since "Wicked" firmly established her as a universal household name. For those who didn’t follow up when releasing their first solo effort, there will be some surprises on how she avoids things like off-the-scenes things in terms of presumed crossovers.
Because Erivo is a black woman with a strong voice, after all, does portray Aretha Franklin, there might be an expectation that she would make R&B records, go backwards or otherwise. That's the No. 1 stereotype. "I forgive you" does have a modern R&B tension It's closer to the great moody Hozier record than anything else throughout the process. Stereotype 2: As a musical actress, she Will be Belt, right? Not so many - those who came to the album crying for Elphabian War are in the wrong place. This could explain why the "Evil" head might feel a little disappointed when she released her first single "Replay". Listening to this, the performer might wonder: if she was going to pursue a popular career, rather than giving us a series of cascading octave lifts, but providing anxious fanatical numbers that sounded a bit like “Tom’s Restaurant,” wouldn’t it be like owning a third gear like owning a Ferrari?
Rest assured that there are many transfers to fourth and fifth in the 20 song courses of “I Forgive You”. It's just about having super dramatic key changes to show off her abilities. She is the most sound constraint model in this album - not a virtue in itself, but Erivo will certainly become a kind of, finding extravagant coloring in music, refusing to hit your head with a broom or Coloratura. Some of the most impressive passages piled up her voice to show a creepy chorus effect, against modest instruments or 30-piece bands or rendered a cappella chorus. Sometimes multiple Cynthias cooed softly in the foreground, and the crying Erivo appeared from behind. If this is not a multiple twist of invention, then in the studio it is a very effective use of manual labor and cunning stratification.
Most unexpectedly, though, Erivo brings the advantages of lyric poetry, conceptualists, and even song sequencers. The singer worked with leading collaborator Will Wells to split the album into four theme sections and had a unique division that didn’t hurt much to the awareness of entering or at least passing. The first six songs are more or less like their own breakup EP, Erivo Clearhead investigates her just-finished or coming to an end, with some rather emotionally complex numbers involving a mix of culprits and liberation, and it’s a companion to end something. Just as the entire album seemed like a romantically split honest and confessed document, the second part suddenly moved to the above R&B section and we got a very different Erivo: it was sexy time and a suitable soundtrack for anyone’s sensory soundtrack, which can be a long time as long as you remember the first six fallen guys started after these startups.
After this extended sensory interlude, as the third part of the album is Headier and Flighier, there is another thing to go, using lighter pop music to describe a more spiritual love. The final stretch avoids romantic attention to see bigger life problems. This ending combines "Grace", a deeply emotional will commemorating a little girl Erivo with his last big wish to see a preview of "Evil". (The real girl's voice honestly shuts down the album.)
It's a lot of pent-up area, and Erivo's approach is like she's been writing and recording an album throughout her career, not just making a decent debut with a more ambitious and accomplished follow-up. Will it be crushed? It's impossible, but this four-part album has not yet been considered a fourth-quarter blockbuster. It exists in a sparse place between pop and modern musicals, and perhaps the highest praise you can give is that if God forbids Stephen Schwartz was taken away before "Evil: The Eternal Benefits", you can imagine that Erivo and Wells might fit the task of the necessary new song. She is not in Schwartz territory yet, and that's not what she pursues with these low-key love songs. But from the results here, you don't want her to work together on her own musical one day, which will be a memorable opening night.