Album Review: Ella Eyre - ‘Everything, In Time’
The album she thought she would never get to make, Ella Eyre is stunning on ‘Everything, In Time’.
It is incredible the impact ten years can have. For Ella Eyre, it has meant signing and parting from her record label all while navigating difficulty in her personal life, the joy of taking ownership of her masters and whilst juggling with the burden of having to learn everything again as part of her recovery from vocal surgery and so much more. Her second album is one that has been in the works for a while, having been scrapped and reworked several times over until it felt right. Much like its title would suggest, with time all things fit into place and ten years on from her debut ‘Feline’, she is back stronger than ever.
Delving into the highs and lows, the wins and the losses, ‘Everything In Time’ sees Ella Eyre weave the loose ends from all that she has experienced into an album that somehow manages to be both unfiltered, honest and raw whilst also having a core thread that ties everything together. Everything feels incredibly deliberate and delivered, an echo of an attitude shaped by patience, resilience and the determination to return to oneself. She explains:
‘..I think my favourite part about the album is that there is a very clear consistent sound in there and a lot of the lessons I learned along the way… the album’s taken 10 years. Anything that is supposed to come that's worthwhile or anything good or bad that's going to come in its own time is going to come in its own time. It’s about learning the peace and finding patience in the process.’
Though she is unafraid to play around with style and genre, the point she makes about a clear consistent sound rings true. Whether it be rnb, funk, soul, pop or the dance she broke out with, on this record her sound is characterised by both its assuredness and the sense of relief that bleeds through. Having yearned to express herself on her own terms for so long, ‘Everything In Time’ feels like the longest exhale after holding your breath for a lifetime.
In true poetic fashion, things start at the ending. The eponymous track, ‘Everything In Time’, was the last one to be written and was the thing that gave the album her title. Having toyed around with different names, it’s the final puzzle piece that completes the whole picture - what a perfect way to start. Ella has said over and over that this is her favourite tracks from this new era, explaining that it sums up all the intentions she had when writing
‘The reason I started making the album was to sort of rediscover myself and reconnect with what I wanted and how I was feeling…the lesson I’ve learned making this album is that anything that’s meant for you will come it’s own time … and we’re not always in control of that. What we can be in control of is how we’re feeling and the energy that we’re putting out into the world whilst we’re waiting.’
This track is Ella Eyre as she is now. Supported, strong and knowing what she wants to say. Her vocals match; better than ever, her tone is rich, full bodied and carries the melody with ease. The instrumentation has a laid back quality to it that again reflects the confidence that characterises her return to releasing music. Composition by Jay Prince and Aston Rudi radiates light and joy making listeners forget that we are all headed towards the depths of winter. For her fans, its a moment that proves that good things come to those who are willing to wait.
Of the 15 tracks, not one can be skipped. Each a demonstration of both her resilient and incredible talent, they all paint Eyre as a formidable creative force. She seems intent on capturing all the feelings of the last ten years: from the bold and empowering ‘Space’ which commands energy and ‘Red Flags and Love Hearts’ which calls out a gaslighter and struts away from old mistakes with Caribbean infused rhythms and cool. She’s unafraid to play around and stray away from what her fans know on tracks like ‘Kintsugi’ and ‘Ain’t No Love That Blind’ which respectively embrace atmospheric and rock infused intensity. The introspection is apparent throughout, particularly for ‘High on The Internet’ which examines the pressures of being an artist in the digital age in a way that is conversational, relatable and frank. Collaboration has always been central to Eyre’s artistry and as such there are two incredible features on the album. ‘Head In The Ground’ which includes a rap verse courtesy of Tiggs Da Author is a masterclass in old school swagger and ‘High On The Internet’ features a blistering section by Jay Prince who also has composer credits on several tracks on the album.
A particularly special moment emerges in the final track, ‘Rain In Heaven - Demo’ which though being a lovesong can also be interpreted as a letter from Ella to her past self. She sings that ‘paradise ain’t what it seems’, a universal sentiment that speaks to how everyone has periods where they have to navigate difficulty. To her younger self Eyre explains that though there are times when life isn’t easy, she will recognise that she has the strength to power through. It again reflects on the bigger themes of the album : the hardships and bumps along the way are the things in life’s journey that make us stronger for what lies ahead. In time, we learn to embrace everything that is thrown at us, the good and the bad. It is these experiences that shape us into the people we are meant to become.
Much like the life it represents, Ella Eyre’s new album is coloured with both light and shade. There are searing moments that feel like a middle finger to the systems that held her back and others that feel like a warm hug from an older sister - the joy is that she is able to embody all these different roles. Its wonderful to see Ella experiment with both style and subject matter; as much as we all loved her dance pop hits it is a gift to see the new shades that make up the colours of her artistry. In an industry where we are seeing more and more artists venturing out solo and independent, its exciting and a relief for Eyre to also finally making the music she was always meant to. As well as some instore gigs with Rough Trade, she is embarking on a mini tour next month with 4 beautiful candlelit shows in Edinburgh, London, Manchester and Liverpool. The tickets for the sessions are limited due to the intimate venue choices but lucky fans who get them will no doubt be treated to an enchanting evening. She has also announced a show in London’s Union Chapel next April, which hopefully is a sign for more shows in the new year.
Words by Kirsty-Ann Thomson
