I love the fusion of beautiful vocals, strong musicianship, and thoughtful production, and that is exactly what struck me as soon as the opening track, "Star Formation", began. Almost immediately, I could imagine it sitting comfortably on a film or television soundtrack. The production is particularly impressive, creating a rich backdrop while ensuring the vocals remain the clear and emotional focal point throughout.

For some reason, I was not as enamoured with the next track, "Boys”. Coming directly after the opening track, it feels like a sharp deviation in tone. There's also a very middle eastern feel to the track, again which further makes it feel somewhat misplaced. The vocals are still so good, as is the music, but it's more that feeling that its placement on the album is off. And it's funny, looking on YouTube Music, this track is the most popular on the album, which I think shows that many music lovers are more comfortable with individual tracks, rather than albums, which is always my primary focus, the release as a whole.

"Everything Everywhere at Once", continues that same feel of the opening track, and that's further re-enforced because again I feel like I'm listening to a soundtrack. It starts with a wonderful, simple piano melody. Like the first track, I think the additional thing that's lifts this is the wonderful use of strings. I'm a sucker for violin and let's not get me talking about cellos. Such a beautiful track.

The next track, "Love Is the Strangest Thing", caught my attention immediately. Its opening, driven by a plodding guitar, initially brought to mind a kind of cowboy’s lament. Then, as the vocals came in, an old classic surfaced in my thoughts, the Righteous Brothers’ "Unchained Melody". It is something about the verse build that echoes that familiar feel, though the song very much establishes its own identity. Here the slight reverb on the vocals really gives the track an interesting flavour.

"Stars & UFOs" is a stripped back, acoustic guitar and vocal driven song, and its simplicity is very much to its benefit rather than a detriment. The arrangement gives the vocals plenty of space to breathe, allowing the emotion of the song to come through without distraction. There are occasional synth flourishes around the chorus that gently lift the track, but they never overwhelm it, instead adding subtle texture while keeping everything grounded in its acoustic roots.

Again for some reason "Love Me Like That" just missed the mark for me. It has a lot of the right things, but just didn't gel for whatever reason and again it's from the perspective of how it feels among the rest of the track. And it's hard to quantify sometimes. Again musically it's great, and the vocals are bright and beautiful, but it never really clicked.

That same cannot be said for the next track, "Om Shani", once I moved beyond my initial reaction to the drum pattern as it first settles in. This is a slow and deliberate piece, carrying an intensity that surfaces at times, particularly through its dark, weighty bass and dark synth. Yet it also has a deeply mesmerising quality, one that holds your attention and keeps you leaning into every word. Curiosity got the better of me, and I found myself looking into the mantra recited towards the end of the track, which references Shani (Saturn), the celestial deity in Hinduism. That added layer of meaning only deepens the experience, making this a genuinely wonderful and absorbing track.

I think we circle back close to where we started with "Law of Attraction". It immediately strikes me as the kind of track that would feel perfectly at home in a series like Grey’s Anatomy, or a similar drama where emotional highs and lows are so powerfully amplified by the right musical choice. There is a cinematic sweep to it that makes those moments easy to imagine, where the music quietly but decisively deepens the impact of the scene.

And finally, we arrive at the closing track, "Tiny Little Star" which feels perfectly placed while still standing apart thanks to its very different vocal character. There is a raw, almost unpolished quality to the performance that feels entirely intentional, and pulling that off is an art in itself. That sense of vulnerability gives the song a striking honesty and intimacy. At the same time, there is some beautiful accompaniment and thoughtful production at work here, but it is handled with restraint, enhancing the emotion rather than distracting from it. It makes for a deeply satisfying and fitting way to sign off the album.

Across the album, what stands out most is the strength of the vocals and the careful, cinematic production, which often makes the music feel tailor made for film or television. The opening run of tracks sets a rich, soundtrack like tone, with moments of beauty driven by piano, strings, and spacious arrangements that allow the voice to remain front and centre. While a couple of songs feel less cohesive in terms of album flow, despite being strong in isolation, the record consistently returns to its emotional core through restrained arrangements, subtle textures, and a willingness to let simplicity do the heavy lifting. Highlights emerge in the more understated and deliberate pieces, where atmosphere, meaning, and vocal intimacy combine to create something quietly absorbing. By the time the closing track arrives, its raw and unpolished vocal delivery feels like a natural and satisfying conclusion, leaving the album as a whole feeling thoughtful, evocative, and carefully crafted.