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The young Romanian indie/pop singer has just released her third studio record, “IMMERSIA”. Throughout five fresh, daring new songs, she re-affirms her songwriting prowess, all the while diving deeper into the experimental side she was only hinting at on her previous record Samsara. Each song has its own sonic identity, with carefully crafted layers and a lot of heart poured into them through Lucia's airy, fragile vocals.
"Simple", the opener, is a quirky, bass-heavy tune, revolving around keyboards and a catchy verse section. "Who" is upbeat and electronica-infused, the closest to a "mainstream" synthpop sound but never straying too far from the alt-indie aesthetic of the whole. "Rogue" would work quite well on alternative radio, with a powerful, no-nonsense chorus and memorable lyrics.
Of course, Lucia has been saving the best for last - the two final songs from the EP encapsulating a wistful glance to the past and a daring look forward. "Backseat" captivates through the interplay of keyboards and vocals recalling the raw quality of her debut "Silence", while "All of the Worlds" is unapologetically experimental, with instruments playing sounds that they shouldn't (an acoustic guitar used as a double bass, for example), pounding percussion work and glitched-out synth craziness.
"Simple", the opener, is a quirky, bass-heavy tune, revolving around keyboards and a catchy verse section. "Who" is upbeat and electronica-infused, the closest to a "mainstream" synthpop sound but never straying too far from the alt-indie aesthetic of the whole. "Rogue" would work quite well on alternative radio, with a powerful, no-nonsense chorus and memorable lyrics.
Of course, Lucia has been saving the best for last - the two final songs from the EP encapsulating a wistful glance to the past and a daring look forward. "Backseat" captivates through the interplay of keyboards and vocals recalling the raw quality of her debut "Silence", while "All of the Worlds" is unapologetically experimental, with instruments playing sounds that they shouldn't (an acoustic guitar used as a double bass, for example), pounding percussion work and glitched-out synth craziness.
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