I’m just going to straight out say it. Classical music is not my jam. I’m not that immersed in the culture, thus giving myself the nickname of the “alternative guy,” but Michelle Lynne’s album, ‘One Step at A Time’, proved otherwise. Let me discuss this in depth and read why Michelle Lynne will be a shining beacon of our industry in the years to come.
The first track of the album, ‘In the In-Between – Piano Version,’ sounds and feels like a mix of that early 2000s hit with a hint of Christian Contemporary Music because of the chord progression used throughout the track. What I specifically like about this track is that it doesn’t sound like someone just noodled their way into creating an instrumental track.
As a musician myself, I know when an instrumental track is just mindless noodling and showing off versus creating a story through the music. Sure, the track has a lot of layers to it, but when you really listen closely, you can hear the changes and the heaviness of each section.
‘Everglow’ has this radiating glow because of the beautiful chord progression and musical storytelling that will work as an instrumental and as a piece for a song. You can clearly hear the classical music influence because of some cadence and phrasing added in the track.
‘Hold On’ is the third track of the album, and by far the first track that has a full band setup with complete vocals and instrumentation. You can clearly hear the musical training in the vocal phrasing, spacing, and delivery. I’m not a classically trained musician, but it’s basically night and day when I hear artists who are musically trained versus those who are learned by ear.
‘Empty Promises’ feels like an inner dialogue from someone who’s already on the verge of just ending the relationship that scarred them internally. It’s evident in phrases like / All these tears I’ve cried / They’ve torn me up inside / And all that’s left to see here are these scars / And empty promises.
‘Pavane pour une infante défunte’ feels and sounds like a track written for a classic movie because of the chord progression, a bit of chordal dissonance, and the entire shift of chord progression and feel. In this specific track, you can hear Michelle Lynne’s musical prowess.
What I specifically like about ‘Let Me Heal’ is the use of drum samples that are first in this album. It’s a clear demonstration that, aside from that classical training, Michelle Lynne can adapt to what a song needs, and truly, that is a mark of an artist.
‘Jeux d’eau’ is the track to hear because of how Michelle Lynne demonstrated not just how good she is at musical composition, but also with her chops. It’s straight out flexing her musical chops, which I really appreciate because that’s dedication and mastery. Well done!
‘I’m Here’ is another track that has that unexpected drum sample. After hearing Michelle Lynne’s piano chops, we got a track that talks about transparency as its main theme. It’s evident in phrases like / Let me be real, let me be seen / All of these broken up pieces in me / They belong to you, this much is clear / And if you said that you’ll take them, I’m here
This time, we have ‘In the In-Between’, complete with vocals and all the instrumentation. What I like about this track is that it still has that early 2000s vibe with a hint of Christian contemporary music feel to it, because aside from how it sounds, the main theme of the song talks about patience.
‘Au bord d’une source’ is another classic piece that showcases Michelle Lynne’s musical prowess. What I like about these musical pieces is that it doesn’t feel and sounds like noodling. It still has a story, that emotional arch, and most importantly, it has dynamics. In instrumental tracks, dynamics play a huge role in storytelling, and it’s evident in this track.
Honestly, ‘Hold On – piano version’ is not really needed in this album, but I can hear why it’s still added in this album. You can hear the heart and soul of the composition based on the principle that once you strip a song to its core, does it still give the same energy, or does it have a different way of interpretation? It has the same sentiments with the last track of the album, ‘Empty Promises – piano version.’
I may not have a sweet spot for classical music, but I appreciate the passion for music that Michelle Lynne has. From classical to cornerstone drum samples, it’s no secret that artists like her will shine in the years to come.
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About the Author
He has been in the music industry for two and a half decades. Currently, he plays bass guitar for a rock-reggae band called EnjointPh and a funk-fusion trio called Banky. He also hosts a podcast titled Usapang Musiko with Ervin Besana, which explores topics such as music, arts, and philosophy.
