On the heels of the viral success of a handful of early songs, London singer/songwriter and poet
Arlo Parks makes her full-length debut with
Collapsed in Sunbeams, a set that draws on episodes from adolescence. Sharing an empathic, personal approach that doesn't shy away from matters of heart or mental health issues, some of those songs -- "Eugene," "Caroline," and "Black Dog," for instance -- are included on the 12-track album. Another characteristic that
Parks' works have in common is an appealing blend of adult-alternative R&B, bedroom pop, and a borderline sophisti-pop that lands her sound in the general vicinity of, say,
Sade or
Jamila Woods without infringing on their space. Setting her material apart further still are her poetic leanings, and she opens
Collapsed in Sunbeams with a nearly minute-long reading of the same name set to arpeggiated acoustic guitar and spacy keyboard tones. The poem's final line, "You shouldn't be afraid to cry in front of me," sets the stage for the openhearted songs to follow, among them "Too Good." That tune's jazzy, syncopated guitar and staccato bass groove uplift regrets like "Why'd we make the simplest things so hard?" Later, the optimistic "Hope" rides skittering drums and lite, improvisational piano chords alongside reassurances like "You're not alone/Why you think you are?/We all have scars/I know it's hard." The jealous "Eugene" is a duskier entry with a similarly elegant groove that scores
Parks trying to comfort a friend after a breakup ("You know I like you like that"). Her more poetic tendencies reveal themselves on tracks like the sultry "Green Eyes," which offers "Dragonfruit and peaches in the wine/Kissin' circles underneath your eyes" amongst lyrics about a forbidden young love, and "Portra 400," a song named for a line of Kodak film that includes the phrase "Making rainbows out of something painful." The album's formula is a soothing, pleasant one with sentiment to spare and, as a debut, full of promise. ~ Marcy Donelson