Claire Cottrill, better known as indie songwriter Clairo, is a long-standing figure in the dreamy world of bedroom pop. While her most recent album Charm does differ from her early, more lo-fi releases such as Immunity and “Flaming Hot Cheetos,” the album does not feel like a major progression from her last release, but rather an ever so slightly matured, more intricate continuation of her sophomore album Sling. While Sling felt cool and modern, a product of Jack Antonoff’s sharp production style, Charm has a certain depth to it that creates a more intimate listening experience. Produced by Cottrill and Leon Michels, the album’s soundscape is made up of vintage instruments: mellotrons, vibraphones, woodwinds, saxophones, etc., and leans into a warm, retro sound similar to that of an Andy Shauf record. The analog band gives the record a soft rock, early ‘70s feel, but it’s Cottrill’s soft and understated vocals that are the most necessary component in creating th iconic Clairo sound. As if she were singing to herself around the house, Cottrill hums non-lyrical melodies, such as the intro to “Second Nature,” the hook of “Echo,” or the outro of “Juna.” It’s this aloofness, reminiscent of Vashti Bunyan’s dreamy singing style, that allows the album to maintain a glowy bedroom feel.
Charm supposedly represents a new confidence from Cottrill. She discusses themes she has not previously touched on, such as sexuality and romantic intimacy; also, Cottrill looks directly at the camera in the album cover, compared to her downward gaze on every one of her other covers. The first single from the record, “Sexy to Someone,” is a fun, feel-good pop song that suggests that Cottrill will embrace her own voice throughout the entirety of the record, in contrast to her previous work. However, this is not necessarily true.
I think the music video for “Juna” best sums up the overall energy of the album, which is a subtle, withdrawn indifference from Cottrill. The video shows Cottrill attending a bright, busy wrestling event, where she sits to the side averting her gaze, looking bored. At times the album feels as if the beautiful instrumental arrangements are at the forefront, while Cottrill’s distant singing is an afterthought; as if everyone were putting effort into their performance except for her. Then again, maybe this is the charm of her music – pun intended. Maybe it is her soft and withdrawn singing style that draws the audience in for a more intentional listen to what she has to say.
