In an elaborate yet glorious fusing of observation and honesty, paired with genre-blending musicality, Rebecca Lucy Taylor, AKA Self Esteem returns with her third album ‘A Complicated Woman.’
Exploring themes of self-confidence, societal expectations and feminism, Taylor continues to place topics which typically go unspoken, right in front of you. Its cover itself lending into this notion, depicting Taylor as a character from ‘The Handmaid’s Tale’ with a face conveying amalgamating emotions of anger, despair and upset. This, and the album title alone suggests we are in for an honest reading of expression and society.
Starting our journey, the opening track, ‘I Do And I Don’t Care,’ sets the precedent for the album, whimsically entering with honest declarations as a choir repeat the song’s title, confirming it as a motif. All this is set upon the punch of a bassline along with wistful violins providing a soundtrack of both devastation and hope. This is combined at moments with isolated spoken word with ambiguity in the idea of whether Taylor’s speaking directly to us or confirming notions to herself. The lyrics “If I’m so empowered, why am I such a coward,” repeat with continued heightening towards the end of the song along with developing instrumentation through violins and synths, leaving both sound and message ringing in your ears.
Our second song ‘Focus Is Power,’ was the first single released from the album in January. Consisting of the layering of voices from a female choir, a mentality shifting to positivity is highlighted within the song’s lyrics. To go with this, major chords from the instrumentation coincide with that conjuring notion of hope and positivity.
In a complete juxtaposition of sound, ‘Mother,’ is carried by heavy, churning electronic beats at a faster pace. It’s our first sign upon listening that we will shift from lighter uplifting demonstrations to harsher, grounding musicality without hesitation. With a more angered approach, speaking to a partner who is overly dependent on the narrator, short and snappy lyrics are placed amongst the darkening grit of the beat. On the surface, the lyrics are humorous but then reality seeps in and you’re met with a situation which many will find relatable.
‘The Curse,’ discusses reliance on alcohol to potentially ease the pain of relationships and the burden of societal expectations. With poignancy and relatability, it is yet again a stark contrast from what has gone before continually enabling the album’s sound to be refreshing.
‘Logic, Bitch!’ greets us with gentle instrumentation from violins and pianos which swirl amongst a sea of harmonies, featuring vocals from Sue Thompkins. Its final moments are its finest in which the stunningly ethereal instrumentation builds as the song draws to a close.
Melody is carried through glittery synths and electronic beats in ‘Cheers to Me,’ which I feel sticks out amongst the album with its more upbeat temperament paired with more cheery musicality. It would fit in well amongst the modern synth-pop sphere, with its sound perhaps similar to that of MUNA or Rina Sawayama.
‘If Not Now, It’s Soon’ consists of layers upon layers of colliding instrumentation which sounds both level and syncopated at points, continuing on from the bright sound of the previous song. Anthemically hopeful in both lyrics and musicality, it continues with that idea of self-belief in a way that doesn’t feel insincere.
Featuring Moonchild Sanelly, ‘In Plain Sight,’ greets us with yet another shift in tone. Almost moody acoustic guitar pairs with a thumping electronic beat which subtly builds to create atmosphere. It hooks you straight away. With ideas of self and outer evaluation, the song is a personal highlight from the record. The instrumentation continues in repetition but builds as Moonchild Sanelly enters, joined with violins which bring a hauntingly devastating charm.
Within a soundscape of hazy darkness, ‘Lies’ introduces a sound which is unescapable. Layers of distorted vocals clash with intensity and Nadine Shah’s feature adds another level of anger and frustration to the lyrics.
‘69’ is the first song on the record that I wouldn’t play in front of the family. If you merged the Big Brother and BBC News theme together, it’s sound falls somewhere within those lines and I say this as a compliment, as I would be unironically thrilled if either came on in a club. Its clunky beats pulse through your ears, blending well with the heaviness of the previous song.
‘What Now’ throws you straight in with divine harmonies. For the most part, the song is acapella, with the beauty of a choir carrying the penultimate song of the album.
The album’s conclusion, ‘The Deep Blue Okay,’ is carried by sparkly piano notes and Taylor’s impassioned vocals. It feels triumphant, perfectly wrapping up a journey of attempting to intertwine confidence with identity.
Coinciding with the ever-twisting journey that is self-acceptance in amongst the harsh groundings of societal expectations, each song twists in its instrumentation, moving it far away from the confines of genre. It keeps the album fresh and is the perfect continuation for Taylor’s musical career. With more edge in sound from her previous records, Taylor continues to present herself as a defining artist who is going from strength to strength. Her brutal honesty is refreshing and doesn’t shy away from the truth.
Self Esteem: A Complicated Woman – Out 25 April 2025 (Universal Music)
Self Esteem – Focus Is Power (Official Video) – YouTube
