Rank: 2.5/5
Midwestern singer-songwriter Lissie’s third album, “My Wild West,” features catchy melodies and decent songwriting, but the indie folk rock sound that she’s built her career on has been muddled in favor of a more accessible acoustic pop format.
Lissie’s first two studio efforts were met with moderate success, but she’s gained a fair amount of attention for her 2011 EP “Covered Up with Flowers,” a collection of covers. Her cover of Kid Cudi’s “Pursuit of Happiness,” which was sampled in Schoolboy Q’s 2012 single “Hands on the Wheel,”was particulary popular.
“My Wild West,” Lissie’s first project released on her own record label, sees Lissie return to her Illinois indie folk roots. At many points in the album, however, it seems like she could have benefited from taking a few more risks.
Lissie is by no means a sloppy songwriter, but none of the tracks on “My Wild West” were especially memorable for its lyricism. Listening to the album, her catchy hooks and pleasant melodies are Lissie’s bread and butter.
The entire project has a spaghetti western aesthetic, complete with an opening track titled “My Wild West Overture.” While not many of these songs left a lasting impression, the way she masterfully sets the tone for the record makes it hard to deny that her heart’s in the right place.
Standout tracks on “My Wild West” include the eerie “Stay” and the aggressive “Daughters.” It’s unfortunate that her truly gripping moments like these are hidden amongst a number of songs that feel far too uninspired.
Tracks like the somber “Sun Keeps Risin’” and the catchy yet repetitive “Don’t You Give Up on Me” are far from unpleasant, but most of the songs give off the impression that they’ve been written a million times before for other artists.
Lissie’s value as an actual singer, however, is undeniable. Track after track, she proves herself with remarkable vocal performances. The energy in her voice is one of the few things able to breathe life into some of the record’s weaker songs.
The resulting album is a solid acoustic pop effort, but it’s ultimately forgettable. Any innovation on Lissie’s part could have made it a much more impactful listening experience, but she seems to have played it a bit too safe here.