Pop and R&B artist Alessia Cara’s latest album, “Love & Hyperbole,” takes listeners on a jazzy journey through a multitude of experiences of love. This latest release showcases a mature self-confidence in loving without fear, born from what Cara describes as finding a “new voice” in her writing.
Cara began teasing this album in July of 2024, when she released “Dead Man,” the first of the 14 tracks, as a single. The complete album was finally released on Feb. 14, and its nuanced perspectives and vocal technique showcase Cara’s growth as both a singer and songwriter, making the four years since her last album well worth the wait.
Throughout the album, Cara’s narratives depart from the internal conflict which characterized her earlier work, presenting a much more self-assured outlook. “Drive” depicts Cara calmly shaking off the world to take care of herself and “cradle [her] desires like a child.” Though the chorus consists only of drawn-out repetitions of “drive,” she muses in a verse that she’s “getting over relying on tomorrow to get somewhere,” lending maturity to her thought process rather than following a predictable path of teenage rebellion.
Although “Feels Right” lacks some emotional drive, both this track and “Fire” speak to Cara’s intention to love freely and in the moment. And while Cara acknowledges her shortcomings in “Run Run,” she closes the album with “Clearly,” using seamlessly layered harmonies to reflect on a breakup with the intention to heal rather than vindicate. Cara’s depth of reflection develops messages that resonate with listeners, and that relatability encourages them to see their own experiences in a new light.
Unlike many pop albums, “Love & Hyperbole” doesn’t resort to padding a few showstoppers with filler songs. Instead, every track adds a new perspective to her take on love, exploring emotional distance in a long-term relationship, the butterflies of a budding crush and self-love in the aftermath of a breakup. The only exception is “Garden Interlude,” which is exactly what it claims to be — a slightly extraneous add-on with a comparatively simplistic story. Cara sings, “And you’re like a warm autumn afternoon / I used to know how to keep my cool,” a nicely phrased but somewhat cliche description of opposites attracting and a crush drawing her out of her numbness.
Amid this variety, “(Isn’t It) Obvious” and “Slow Motion,” both released early as singles, maintain a similar beat and lyrical rhythm, cluing listeners into the continuous storyline that Cara alluded to in an X post. In “(Isn’t It) Obvious,” she attempts to reassure a partner that their relationship is enough for her, singing “If it’s any consolation, you’re my favorite (Ah) / It’s you and I, you gotta know that, right?” She reaffirms this commitment in “Slow Motion,” telling her partner, “I’ma bet it all on you.” As positive as this is, both songs acknowledge the difficulty that physical distance brings to the relationship, making the payoff when “all the heavens suddenly open” and the partners learn to trust each other in “Slow Motion” even more reassuring.
Cara supports these snapshots of love with impressive vocal variation, employing a range of styles wider than in any of her previous albums. Whereas much of her previous work is confined to either belting or calm lyrical lines, this album spans the full spectrum in between and adds a jazz-inspired touch. Cara navigates larger jumps — usually requiring much more powerful vocals for such precision — with ease and levity in “Nighttime Thing,” reminiscent of the romantic butterflies she feels for a person she initially saw as a fling.
Meanwhile, the fluttery runs of “Subside” illustrate Cara’s wistfulness for her youth and her fear of “wasting away / Grieving what’s still alive.” This creates an intimacy that contrasts sharply with her freer projection in “Fire” as she confesses without pretense, “I wanna take you places / I wanna keep you safe and / I wanna be where you are.” To add to this already wide range, “Clearly” rests on harmonies so meticulously crafted that it doesn’t even need Cara’s usual brassy solo to carry the melody.
Much like the vocals, the instrumentals throughout the album are masterfully tailored to create the unique mood of each song. “Go Outside!” uses light, bouncy drums — matching the exclamation point in the title — while “Subside” is on the smoother side with its background of string instruments. “Dead Man,” though it blurs with “Go Outside!” in terms of production style, sets itself apart with jazz band background music. This not only adds to Cara’s list of experimental choices, but also gives a nod to the live bands of the 60s and 70s that Cara identified as inspirations for this album.
Though there is room for more poeticism, Cara still attends to detail with sprinklings of lyricism. In “Run Run,” she pairs simile with her hallmark straightforwardness in the line, “You’re light as helium / What if I drag you down?” She also isn’t afraid to get slightly more abstract, calling fears of a relationship withering “false creations / Just as vibrant as we paint them” and “constellations / Only glowin’ if we make them” in “(Isn’t It) Obvious.” These flourishes complement the vivid emotional picture already painted by the storytelling and instrumentals, creating a complete package of an album. The result is a beautifully sophisticated album that leaves listeners — at the risk of hyperbole — in love.
RATING: 4/5
