Cassandra Jenkins’s creativity floats sparking dimensional fortitude no matter the stylistic approach of her music. An Overview of Phenomenal Nature showcased such with the tender, mildly minimalistic production, weaving atmospheric textures through ideas instead of the finite. She’s soft-spoken in levels, but her words reign in powerfully with the ignition of the guitar strings emanating depth, which isn’t anything new within the singer/songwriter genre; the gentle approach Jenkins brings feels authentic to her, beautifully composing softening and blissful chamber pop and rock arrangements and raw-edged drums as a core piece that get built upon meticulously. That verismo shines through on her latest album, My Light, My Destroyer, which sees Jenkins continue to exemplify the jazzy brass within while elevating to a new plateau of Pop music that isn’t far from the fray but builds upon an overarching sense of being, similar to the reflections of “Hard Drive.” It springs into divulging thoughts on the people Jenkins met and the observations had, being eerily reminiscent of “Tom’s Diner,” but with some minor instrumentations. My Light, My Destroyer isn’t perfect, but it exists in this plane where the intake is full of blissful melodies and delicate lyricism.
My Light, My Destroyer is more personal, honing in more on Cassandra Jenkins, the person, instead of the person observing. It contains music that speaks to how Jenkins has felt and witnessed, looking back at the past and elevating more of what we didn’t know. From shorter instrumental interludes to works of spoken word and radiating chamber pop melodies, there is much to this album where the focus is tight and direct. It’s meditating through a sonic motif created by the meticulously paced drums, pushing away from the expected. The production weaves connections to the past, specifically with the not-so-subtle inclusions of instruments that take the stage without being uproarious doing so. We hear it with the lounge jazz textures within “Tape and Tissue,” the more orchestral vibing “Omakase,” and the low-risk, high-reward rock with “Aurora, IL,” all part of an elegant tapestry that shines in showcasing Jenkins all. However, the album is more than just its production, especially when some of her treads into indie rock territory are finessed and smoothed out without feeling complacent with its safer directions. It’s why Jenkins’s vocals and lyrics are the glue that makes it all work.
Cassandra Jenkins opens the album with a self-realization that reflects devotion to self-love and understanding, in “Devotion.” From there, she’s meticulously crafting her person instead of flowing with the poeticism that made her last album feel refreshing through its unique construct. We’re getting more of a standard construct for an album without losing its fizzle, even when the idea of revealing herself is too direct, like with “Omakase,” where she sings, “Pull me apart/Want you to see who I am?/Pull me apart/Put me back together again.” In it, she reveals that she has nothing to hide, whether it’s herself or acknowledging that curation won’t be different, considering the song name defines hand-selected meals by a chef, specifically in a Japanese restaurant. Though there is immense depth within this song, or “Delphine Blue,” which speaks to the hype in longing, Jenkins humbles her personification with these real-life stories. It’s the observing life on the road in “Aurora, IL,” the simplicity of shopping at “Petco,” and using it as a way to let the mind wander and reflect on how she got there; the world is her oyster, and we are relishing the in the glimmering pearl she shows.
My Light, My Destroyer strolls strong with momentous consistency. It’s an album that I couldn’t help but leave on repeat for hours. Cassandra Jenkins isn’t one to deliver a dud, making much of the world and allowing us to inhabit what she sees and feels without relying on complacent parameters with its topics. She uses metaphors without ever extending into the complicated and never lets the motor wind down, even when she gives us these beautiful interludes, solo instrumentals, and the one track where it’s sung in French. These instances continue to bring life to the party, and in doing so we’re left with a lot to digest, which reflects a fantastic presence in music creation that can be found below the fold of standard pop. As I sit here, gleefully recommending this album, I can understand why it may not work for some who enjoy the genre; specifically, that’s the slightly safe route taken by some of the earlier productions, like with “Clams Casino” but it offers nuance with its reflection of the past, something that resonating throughout and feeling homely.
I loved My Light, My Destroyer. There’s no denying it. But what made me gravitate towards it was more than its sound; it’s her careful dedication to making the album stand out above others. She does that. It’s why My Light, My Destroyer has left an imprint on my mind, and I hope it will for you, too.
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