by Amity Hereweard
Olivia Dean’s sophomore effort, The Art of Loving, arrives as a reverie in a market saturated with maximalist pop‑soul productions. From the moment the listener steps through the opening doorway of “The Art of Loving (Intro)”, the album plays like a collection of songs where each track is a pane of colored glass, refracting Dean’s soulful singing in measured, deliberate beams. Dean’s voice, warm and crystalline, is paired with many sounds, from strings and piano arpeggios to feather‑light percussion and soft guitars. Each track establishes a mood of luminous soul-pop that persists throughout the record.
The full journey begins with “Nice To Each Other”, a mid‑tempo groove that balances flirtation with grounded poise. Dean’s vocal timbre delights as she navigates the delicate line between independence and connection. Harmonic choices of subtle major‑key twists inject a breezy optimism while the arrangement deliberately leaves gaps between phrases, encouraging listeners to savor the moment rather than rush forward.
“Lady Lady” deepens the emotional palette with a sun‑kissed, orange‑hued texture. The rhythm nudges forward, the backing vocals thicken, Fender Rhodes, and a brief brass flourish at the end adds a glint of confidence. Dean treats her own voice as a layered instrument, stacking harmonies only to peel them back in the bridge, illustrating a process of self‑reconstruction. The arrangement blossoms without ever feeling crowded, reinforcing the notion that personal evolution can be both assertive and airy. By contrast, “Close Up” pulls the listener inward, stripping the mix back to piano for the beginning, the song develops with whispered background vocals, and an alluring classic drum pattern and bass figure. The intimacy in her singing is palpable; the mic technique foregrounds every breath, making the track come alive with vocal nuance that amplifies emotional depth.
The album’s midpoint, “So Easy (To Fall In Love)”, pays homage to late‑‘60s Brill‑Building soul while weaving in bossa‑nova‑lite jazz chords. The groove glides with a languid swing, embodying the effortless surrender of love rather than a forced pursuit. Dean’s sensual singing takes us through a half‑beat syncopation and grooving bass line, allowing the melody to float like sunlight on a glass of chilled water. Following this, “Let Alone The One You Love” introduces a soul/rock ballad with a strong backbeat. The inflections in Dean’s singing and a wider dynamic range from the band and full vocal chorus hint at love’s edges and shadows. Ambient reverb expands the sonic space, suggesting that affection can occupy rooms larger than the body itself.
“Man I Need” erupts with a more assertive soul‑pop vigor; its steady tempo and gospel‑tinged backing vocals turn the mood into a dance‑floor confession. Dean maintains her signature poise, letting the final chorus breathe rather than explode. This balance of kinetic energy and controlled restraint exemplifies the album’s overarching lesson of intensity need not sacrifice subtlety. “Something In Between” follows with a reflective glide, its shimmering keys and overlapping vocal lines mirroring the ambiguous space between friendship and romance. The track serves as a pivot, reminding listeners that not every song must resolve neatly; ambiguity can coexist with cohesion.
The latter half of the record continues to explore dynamic contrast. “Loud” swells with full‑string sparkle, building with Dean’s emotion and vocal range. Her tone and projection lend a richness, while Dean’s phrasing builds the drama. “Baby Steps” is a gentle soul-filled backdrop with relaxed rhythm, its lyric “I’ll be my own pair of safe hands” underscored by a texture that is grounded, unhurried, and reassuring. “A Couple Minutes” stretches time deliberately with strings, soulful guitars, and airy keyboards, creating a gentle ambiance. Dean lingers on syllables, allowing silence to become part of the musical sentence along with her sensual tone. Finally, “I’ve Seen It” offers a serene resolution with its soft yet unwavering band setting. The closing sounds of Dean’s vocals glow with ambient warmth, delivering a quiet revelation rather than a bombastic finale.
The Art of Loving has emotional pacing, sonic texture, and vocal elegance. The album provides a rich case study in using space as a compositional tool and how layered harmonies can be built and dismantled without clutter. Dynamic shifts are achieved through subtle orchestration rather than sheer volume, and Dean’s singing is a vivid illustration of how voice, arrangement, and production can cohere to serve narrative intent. The twelve tracks offer a contemporary pop‑soul experience that ultimately lingers in the listener’s mind.
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