Album Review: Lights – A6
3 min read
With a career spanning nearly 15 years, Lights has explored a range of genres, transitioning from electropop and dubstep in her earlier albums to a more narrative and alternative sound in her later work. Throughout, she has maintained a strong sense of identity and an unmistakable aesthetic, with her brightly coloured guitars and wild, jet-black hair. In her new album, A6, Lights embraces a darker sound, drawing on newfound authenticity as she delves into inspiration that comes from within.
The album opens with a short intro track, which has an accompanying visualiser showing her travelling the world, ending with the words “welcome to A6”. At only 14 seconds, the intro gives the album a personal feel, seeming homemade and authentic. It’s followed by DAMAGE, which blends Lights’ trademark synths with more down-to-earth lyrics as she sings, “so I’ll go to therapy and blame myself”. It sets the tone for the album, both pensive and punchy. ALIVE AGAIN leans into the synth noise as well, with a catchy chorus and a more pop sound. The vocals are raw as Lights chants ” so come a little closer, I don’t even need to know your name” leaning the track a vulnerability. This anxious sound continues into SURFACE TENSION, which has a darker sound, slower and more melancholy. The use of German in the bridge is unusual but adds a Europop tone that makes the song stand out. Especially when followed by WHITE PAPER PALMS, whose dream-like production, and sporano vocals make it a contrast to the synth and high production that has come before.
The limited production of WHITE PAPER PALMS continues into TAKE IT EASY. It’s a slow, soft track about the end of a relationship as Lights sings “next time you come home, you might be alone”. The repetitive lyrics and synth-infused final chorus make the song memorable and catchy, while still staying true to the heartfelt lyrics and strong vocals. DRINKS ON THE COAST and CLINGY both lean more into the traditional pop sound. DRINKS ON THE COAST has a bright, sunny feel, the perfect backdrop to usher in the summer. CLINGY is slightly less memorable, with its repetertive lyrics occasionally becoming grating, however, the sung bridge is exceptional and really showcases Light’s vocal ability, elevating the track. The final track, DAY TWO, leans back into the dark synth sound and is entirely instrumental until halfway through the track. Björk has been named as one of Lights’ key inspirations, and DAY TWO shows this best, with its magical production and echoing vocals. It’s a bold experimental track that melds vocals and synth as Light sings “I’ve been on fire, burning away”.
A6 may not take Lights anywhere she hasn’t been, but the polished production and vulnerable lyrics show a more mature side of the singer. The combination of bold electro tracks with more conventional pop works to create an album that feels fresh and memorable, a continuation of Lights’ journey that makes you excited to see where she will go next.
