Jessica Lowndes’ new album 88 opens with the track “My Everything”, and it is difficult to imagine a better kickoff. It is representative of the album’s contents. The measured pace of the opener isn’t any impediment to building energy as the structure of the song plus Lowndes’ singing strikes an inspired note throughout. Its exultant mood carries over into many other tracks on the release. Her gift for identifying songs with vigorous, imaginative arrangements gives 88 a kaleidoscopic feel that few other similar collections share.
The longtime actress and singer follows it up with “Sundown”. It is atmospheric electronic pop in its finest iteration. Attentive listeners can hear the influence her acting life has on her vocally in the song’s phrasing. She doesn’t so much as perform “Sundown” as she lives through its emotional ups and downs, much like a Method actor might, but there is no suspension of disbelief required. We believe she’s lived through this experience with each line.
The measured yet propulsive defiance of “Sad But I Don’t Care” is one of the album’s pinnacles. The throbbing synth-fueled backing has a bright and vibrant sound throughout the recording. However, Lowndes’ voice never gets lost in the mix. Sterling production values are one of the consistent strengths of this release, and songs such as this benefit from how well her voice integrates with the accompaniment. “Summertime” has a buoyant and hypnotic throb from the outset that Lowndes’ voice latches onto with great effect. Various bells and whistles adorn this cut, but none sound gratuitous.
“Tug of War” is another of the album’s high water marks. She shifts gears with her singing to reflect the song’s dire outlook, but there is plenty of balance to keep us from enduring too much rough sledding. The arrangement engages listeners on a higher level than even the outstanding earlier tracks achieve. Manipulating dynamics is a critical reason for the success of several 88 songs, and none illustrate that better than “Tug of War”.
However, “Right Now” ranks a close second. The ebb and flow of this tune rely, as does the earlier “Summertime”, on its hypnotic allure. However, synthesizer and keyboard flourishes are much more varied during “Right Now”, and Lowndes adopts a different vocal tone that demonstrates the wide range of her vocals. “We Come Alive” brings 88 to a boisterous and life-affirming conclusion.
It is one of the most colorful moments on the album. Lowndes seems poised to burst out of her skin as she tackles the vocals with a verve that raises the song several notches. Few pop albums you’ll hear this year are as complete and diverse as Jessica Lowndes’ 88. As an actress or singer, Lowndes brings the full force of her personality to the front and center of whatever she does, and it enlivens each project with a stirring sense of identity. Plenty of pop gems sparkle in the firmament of modern music, but few glow with the same intensity that radiates from Jessica Lowndes’ work.
Jodi Marxbury