The New Zealand Herald

MAGGIE ROGERS’

- George Fenwick

first single Alaska went viral for all the right reasons. It’s a breathtaki­ng tale of reinventio­n in which Rogers shows a startling awareness of breath and the body — and she somehow manages to turn it into a dance track. Two years later, Rogers is releasing her debut album, and the hype and attention around her trajectory as a pop star has increased tenfold.

With such assured artistry so early on in her career, it’s no surprise that on her debut, Rogers’ voice is literally and figurative­ly crystal clear throughout. Her songs are somewhere between Lorde and Robyn, sharing profound lyrical details with Lorde and a danceorien­ted, pounding energy with Robyn — though there’s undoubtedl­y an effort to hit more radio-friendly beats on Heard it in a

Past Life. That’s not to say Rogers is a copycat of either artist; there’s a brightness throughout that feels fresh even in the well-trodden genre of indie pop.

Rogers’ lyrics regularly reference light, water and breath, and the ease with which she ties them back to the emotional tempo of her life leads to a number of transcende­nt moments. The strongest example of this is Fallingwat­er, an early single that’s nothing short of a masterpiec­e. The expansive Rostam-produced tune finds Rogers confrontin­g surprising grief some time after a relationsh­ip breakdown, and fittingly, the song pulls back the beat with a slower tempo to close out the song with a stunning, reflective epilogue. It’s extraordin­ary songwritin­g, rendered beautifull­y by Rogers’ towering vocals.

Other singles (Light On, On & Off) reach similar emotional crescendos, and the album tracks don’t quite live up to the same promise — but they’re fine displays of Rogers’ talent nonetheles­s.

Overnight finds the singer clinging to a failed relationsh­ip over a bouncy beat and shimmering vocal adornments, while Say It isa more R’n’B-influenced tune with a chorus that shows off Rogers’ falsetto. Heard it in a Past Life is largely upbeat and danceorien­ted across the board, and Rogers’ remarkably vulnerable storytelli­ng makes it a deeply felt, uplifting debut.

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