The only thing that never changes is that everything changes. To accept this is to accept a certain level of strength, that through this understanding of impermanence, on every conceivable level, we learn to adapt. In kung fu, Buddhism, and improvisational theatre (all things that have taken up years of my life), the guiding principle of fluidity, bending and not breaking, accepting and moving forward in an instant is the essence of any of those practices. Each of these practices, you learn to become more resilient to change, less fragile to the fluctuating world around you, and ultimately learn that even you, yourself are not a fixed point and accept the changes of yourself.
I couldn’t tell you if Chrystia Cabral, the Oakland, California art pop artist known as SPELLLING, has ever practiced any of those things, but surely she has learned the art of adaptation and reinvention. SPELLLING‘s debut album, Pantheon Of Me, saw singer-songwriter bedroom pop through a synth fueled backdrop. Her follow-up, Mazy Fly doubled down on this, but with richer songwriting and arrangements. Then came The Turning Wheel, shifting into a more focused sound with lush orchestral arrangements and piano balladry. SPELLLING & The Mystery School reworked songs from her previous three albums into more pop-forward arrangements. Meanwhile, SPELLLING continued to release some of the coolest music videos of any artist. I became transfixed by her sheer creativity, and through this gained a newfound appreciation for experimental pop.
So, I was of course foolish to think that Portrait Of My Heart would sound like any previous SPELLLING project. There are still synthesizers and layered arrangements, but Portrait Of My Heart introduces some overdriven guitar and a decidedly more rock-forward approach. The opening title track starts off with acoustic strumming and a driving beat, but the chorus swells with synths, power chords, and Cabral’s soaring voice singing, ‘I don’t belong here, whoa,’ with all of the gusto of any number of power pop singers. As the song builds we get interlocking melodies of strings, piano, guitar, and powerful, yet reflective vocals. I was thrown for a loop.
Then, the second single, “Alibi”, dropped with its pop-punk riffs and new wave synths, more ‘yeahs‘ and ‘whoas‘ in the chorus, and I couldn’t help but be reminded of Coheed & Cambria melodies with some Paramore vibes. I had seriously begun to question if this would be the album that loses me, especially given that guitar centered music has not been my preferred flavor lately. Yet, these songs are very good and catchy, and upon hearing the whole album, which stays rock-forward, I can definitely say that I am just as smitten with SPELLLING‘s artistry as ever. The vocal layering on “Waterfall” sounds otherworldly compared to most any rock outfits in the last decade.
“Destiny Arrives”, the third single from Portrait Of My Heart, calls to mind the pop-rock of the 1980s as Cabral channels some sort of Prince-meets-Queen level songcraft delivering a grandiose pop ballad that is as emotive as it is triumphant, easily one of the best songs of the year, so far. Followed by the sultry Sade-tinged “Ammunition”, my concerns completely evaporated into the shining heat SPELLLING brings to the table, like a James Bond title song. “Satisfaction” harkens to the goth-informed work on her previous albums, but revved up to a dark-punk, even metal-inspired intensity. The variety of sounds on this album doesn’t detract from the flow or pacing. Portrait Of My Heart is a joy the whole way through. It is this variety, in fact, that keeps SPELLLING in the art-pop arena, too compelling and adventurous to settle for the era of girlie-pop pastiche.
Portrait Of My Heart is SPELLLING at her most accessible, yet comparability, also her most adventurous, letting her vocals soar in the foreground. The Turning Wheel may be her current classic, but Portrait Of My Heart is poised to take that crown, providing songs that are bold, impassioned, and catchy as hell. The gravitas of her artistry, continuing reinvention, and poetic lyricism captivate, no matter what sonic palette she choses. This album will turn new fans onto her work, and though we’ve had SPELLLING for 8 years, it feels like she is just getting started with what should be a stellar career of Bowie-esque reinvention.
