Soft Currents sees Alexandra Savior processing that her mistakes led to all that afflicts her. She meets this realisation with acceptance, as suggested by the “that’s alright” lines, although there is a consistent and palpable internalised resentment elsewhere. All in all, it’s a relatable depiction of inner conflict. Additionally, this is accentuated by an evocative vocal performance that has a velvety feel and fits wonderfully with the downcast and gloomy mood. This is all taken a step further by the dreamy production that makes the cut all the more hypnotic.

High 8.

Saving Grace calls future turmoil “saving grace[s]” as a way of portraying that past afflictions have been good things gone rotten. Alexandra Savior valiantly calls upon these to “betray [her] again” as a way of defying them. Production-wise, the incredibly dreamy, evocative and immersive cohesion between the instrumental and Alexandra Savior’s high-pitched vocal performance is a sight to behold, especially along with meditatively repetitive bass — which also boasts a unique tone.

Mid-High 8.

Crying All the Time is a post-break-up song (with the nuances of the record’s context). Here, Alexandra Savior lets go of her pent-up and newfound sadness through downcast admittance, which evokes the feelings of her painful riddance. Once again, this is an enjoyably bassy and submerging track with playful and crisp production elements. It also has a somewhat Halloween-y feel, courtesy of the synthesisers and some brightly toned backing guitar arrangements.

Mid-High 8.

Howl seems to detail the codependent and discordant relationship Alexandra Savior had with the music industry and/or her previous lover. It has a lot of paradoxes to show the elusive nature of how she feels towards both of these. What’s more, the ambience stays consistent in quality, but the composition and production of this track —especially the main melody’s tone—  leave a bit to be desired… but the “wacky” feeling of the vocals and synths is still enjoyable in their dreaminess.

Mid 7.

Send Her Back seems to be Alexandra Savior talking to herself, again, from the third person as she wonders if she could go back to an (assumed) better time in the face of all her current pain. The brass and more aggressive-sounding drums make for a nice change of pace within the tracklist. Additionally, the vocal performance and production qualities are consistent and ephemeral, but the composition itself is slightly lacking in memorability.

Mid-High 7.

Can’t Help Myself is self-explanatory. It mostly points to not being able to help loving a specific someone, but it could also allude to the need for a record label as well — though it doesn’t seem likely. The songwriting’s emotivity comes from not only the penmanship but also Alexandra Savior’s delivery. Moreover, the cut is incredibly well composed, executed, and produced. The melodies are very memorable, and there is a palpable melancholy throughout.

Mid-High 8.

The Phantom seems to allude to the nothingness that is felt once a relationship is over, leaving behind a “phantom pain”. Musically, this is quite a coherent track; strong on all fronts, from the catchy bass line to the interestingly harmonised vocals.

Low 8.

Bad Disease is a pretty textbook song about codependency. There is a lyrical highlight here in the line “he’s got spider silk hands I think I’ve fallen into them” — which is effective in detailing a feeling of powerlessness. This could possibly be the strongest allusion to her old record label since it’s the least romantic song in the tracklist. Audibly, the production keeps the consistency in providing dreamy and immersive soundscapes. However, it doesn’t have the strongest arrangements, but the vocal performance and melody are very solid.

Mid-High 7.

But You is a powerful expression of loss. The saddening aftermath of the breakup is apparent and evocative in this heartfelt expression of wanting to get back together. Although I could say that this is a lyrical highlight, there’s no reason to stop there; this is a massive highlight all around. The melancholic composition, tight structure, hypnotic production and spotless performances come together greatly.

Low 9.

The Archer is —in terms of imagery— a more graphic allusion to the self-destructive aspect of Alexandra Savior’s codependence. It also explores in more detail the moment she fell in love. This goes along beautifully with the smooth vocal melodies and candid performance, which shine within this more acoustic track. It’s a truly strong cut to close on as it’s a short and sweet ballad that concludes the album with cohesion.

High 8.