On her 2018 debut album Lush, seventeen-year-old Lindsey Jordan sang “I’m in total control/I’m not lost/Even when it’s love/Even when it’s not.” her natural ability to be many things at once resonated with many people. the contradiction of confidence and vulnerability, power and finesse, had the impact of a wrecking ball when she recorded herself. It was a stunning and unmistakable career-making moment for Jordan.
on valentine, her sophomore album, out november 5th on matador, lindsey solidifies and defines this trajectory in a burst of glory. In 10 songs, written between 2019 and 2020 by Jordan alone, we embark on an adrenaline-pumping odyssey of genuine originality in an era where “indie” music has been reduced to smooth, homogeneous pop composed mostly of ghostwriters. Made with careful precision, valentine shows an artist who has chosen to take her time. The reference points are broad and psychically moving, while the lyrics masterfully build on the foundation laid by Jordan’s first record to deliver a deeper understanding of angst.
on “ben franklin”, the album’s second single, jordan sings “i moved on, but nothing seems true / sometimes i hate her just for not being you / after rehab i’ve felt so small / i miss your attention, I wish I could call.” It’s here that she weeps over lost love, acknowledging the true nature of a fleeting romantic bond and ultimately referencing a stay at a recovery center in Arizona. This 45-day interlude followed trouble. Stemming from a young life colliding with sudden fame and success, not being allowed to bring his instruments or recording equipment, Jordan began tabulating the new album’s arrangements on paper solely from memory and imagination. This choice to take radical action that Valentine really took on in its own unique way.
jordan brought his newfound sense of clarity and calm to durham, north carolina, along with the skeletons of a new album. here he worked with brad cook (bon iver, waxahatchee). Despite the album’s breadth and gravitas, it was in this small home studio that Jordan and Cook worked through the winter of early 2021 to co-produce a dynamic collection of new, genre-bending songs, finishing it off triumphantly in the spring. They were assisted by bandmates Ray Brown and Alex Bass, as well as engineer Alex Farrar, and a live string section was later added at Spacebomb Studios in Richmond.
Leaning more towards samples and synths, the album revolves around a handful of remarkably untraditional pop songs. The first few seconds of the opening song and title “valentine” see a whispered voice and an ominous sci-fi synth erupt in a stadium-sized chorus, an endorphin rush that is an overwhelming statement of intent. “ben franklin”, “forever (sailing)” and “madonna” take imaginative routes to the highest peaks of stickiness. Jordan has always sung with a depth of intensity and conviction, and the pop highlights on Valentine are delivered with such principle and a darkness and beauty that is loud and throaty, taking on the uniqueness that usually comes from a veteran artist.
As captivating as the synth-driven songs are, it’s the most delicate moments like “light blue,” “c.et. alabama.” and “mia” that exude the range and depth of the albums. “baby blue, i’m so behind / can’t understand the faces that come and go in my life / spinning above our daily routines / both of us buried in trouble, baby, honestly,” sings jordan on “c. et. alabama.” with devastating certainty. These deftly finger-picked, more ethereal folk songs peppered throughout the album are nuanced in their vocal delivery and confident in their intricate arrangement. They come in like a breath of air, a moment to let the mind wander, but they quickly drown the listener in their melodic alchemy and lyrical punch.
The album is rounded out radiantly with guitar-driven rock songs like “automate”, “glory” and “headlock”. reminiscent of lush but with a marked tonal shift, jordan once again showcases his prowess as a guitarist with chorus solos and wall-of-sound rhythmic riffs. “headlock” highlights this pivot with high-pitched dissonance and heavenly affected lead parts: “I can’t get out, I’m tied to/another world where we’re together/are you lost in it too?” she sings with determination and fatigue, building so poignantly on its solid foundation of utter melancholy. On Valentine’s Day, we’re whisked 100 miles deeper into the world Jordan created with lush greenery, ushered through dark hallways and corners, landing in a place we never dreamed existed.
today after the valentine taping, jordan is focused on trying to keep healing without slowing down. the album arrives in the midst of so much growth, on the fertile ground of a harrowing ceiling. Coming off a life-changing success, a painful breakup, and 6 weeks of treatment, Jordan looks vibrant and sharp. “Mia, don’t cry / I love you forever / but I have to grow up now / no, I can’t keep holding on to you”, he sings on the album closer to “mia”. she sings softly but her voice cuts like a hacksaw. The song mourns a lost love, says a somber goodbye, and closes the door on a season of bitter cold for Jordan. valentine leaves room for a long road full of stories, somehow it’s a jolt and a buzz of love at the same time.
[katie crutchfield]