Adaline - Dear Illusion, (2020)

Toronto-born queer artist, Adaline, has unveiled her new album, Dear Illusion,. Rooted in alt-pop, the seven-song endeavour provides an upbeat perspective of Adaline’s experience as a member of the LGBTQ+ community. In turn, she has created a dreamy, spacey atmosphere with universally relatable lyrics in which listeners wish to reside.

The album lifts off with “Waist Down” where Adaline repeats the phrase, “we’re only happy from the waist down,” in a passionate, dynamic chorus. The album-opener is undoubtedly upbeat, but there’s this sense of underlying moodiness that brings it down to Earth. There’s something about this track that speaks directly to the album artwork, capturing a sense of breezy youthfulness with a pink-radiating blossomy touch in every word Adaline cries.

“Part Of You” shows off Adaline’s way with words that has earned her the reputation as one of Canada’s premium songwriters. The phrase, “every moment like a portrait, body frame encaged within your tight grip” is an immensely powerful line that Adaline just throws into the mix without hesitation. That line itself brings up the most vivid still-frames of your memory. A hushed vocal performance makes this song sound small and sweet, but doesn’t belittle the track one bit. The accompanying music video shows Adaline gracefully moving her body to the song in a strategic manner, and the production on this track was executed with the same choreography.

Adaline released three singles from Dear Illusion, but the following songs, “Body Talk” and “Over You” were not among them. Upon listening, they’re just as hook-infused as the album’s hits, making the listener wonder if the seven-song EP will bottom out at all. These songs are nothing short of lush. “Body Talk” specializes in harmonies that are used to emphasize Adaline’s clever lyricism. Phrases like “until you say it out loud, it doesn’t really count” are belted out in a memorable ear-candied chorus. As a musician myself, I’m actually frustrated that I didn’t write that line myself.

“Over You” is the album’s valley. Not in a bad way though. Adaline reminds the listener that valleys can be just as picturesque as the peaks, as she delivers a melodic masterpiece in what is the album’s true “slow song.” Harmonies and fingerpicked guitars provide a backdrop for the line, “why can’t I get over you,” which she cries out hauntingly.

Not keeping things too somber, Adaline is the most attitudinal she’s ever been on both “Last Time” and “Cross the Line.” Verses filled with sass carry these songs along, with punchy basslines and drumbeats to assert further authority. These tracks find a way to be poppy but in a way you’ve never heard before. Like, these songs could be on your local pop radio station but the next-level songwriting exemplified by Adaline would catch your ear in the way an artist like Lorde has with her anthemic hits this past decade.

The album’s finale and third single, “Ghost” includes a distinctive message in its lyrical content. The song specifically uses female pronouns in its narrative so queer women can feel directly represented.