Magic Gone is a truly depressing title; it sounds like it should be the soundtrack to the death knell of a relationship. A realisation that it’s over; what made it sparkle has disappeared… and in many ways that’s exactly what the sophomore album by Scranton native Kiley Lotz (without the supporting stars who accompanied her on Shame) has created. Magic Gone is sombre, cold, distant and haunting, yet at the same time beautiful, warm, endearing and passionate. In its simplest form it's quite possibly one of the most successful break-up albums I’ve heard in a long time. It’s a schizophrenic album in the best way possible and the kind of journey that only a skilled songwriter can effectively take you on; making you angry and broken or reminiscent and hopeful at the same time.
The path through “Magic Gone” is via two acts: the first “Tightrope Walker” and the second “Miracle Clinger” whilst stylistically similar show a subtle difference in Petal's outlook. The first half finds a pre-breakdown Lotz hiding from view, putting on a facade almost; with the second half offering a more bare and exposed perspective, whilst intrinsically sadder, quieter and more vulnerable; yet hopeful and optimistic. It also feels as if the first half has a feeling of trying to pretend or hide from the acceptance that a relationship is over; whereas the second shows a realisation that things have changed. The album is also much more mature than the debut “Shame”. For example, take “Photobooth” with its uplifting chorus of kissing under street lights and feeling lucky; there is certain optimism within many of the songs off that album. If “Shame” showcases the start of a new relationship, or youthful naivety, “Magic Gone” is world weary, shining a magnifying glass on the relationship and its final throes.
The real outlier on the album is opener “Better Than You”. It’s the most obvious “punk” song of the collection; fuzzy, noisy and fast. I first saw Petal live supporting Beach Slang and that’s the obvious comparison to make; however the positivity exuded by James Alex is removed and replaced by a neurotic and paranoid Petal battling through regardless. It’s a song about being isolated set to the backdrop of playing to empty rooms. As an opening track it puts you right where Lotz wants you for the forthcoming journey. Yes it’s an upbeat song but it’s dark... It’s also about being true to yourself and if anything resonates about this album it’s that one message. Don’t compromise your ideals, love yourself for who you are and cherish those around you.
Following tracks “Tightrope” and “I’m Sorry” are both painful. The first of physical pain, with a beautiful 3rd act and stunning musicality, it skips along nicely following a quiet start and in the final stages showcases Lotz’s range. It’s also the song that most reminds of the additional musicians who accompanied Lotz on “Shame”; it has some real Tigers Jaw moments. It’s a nice nod to the previous album but also helps show how Lotz has grown as an artist in her own right. The second of these is a much more personal pain; its feelings of something ending permeate through the soft guitar. It’s a tough song to listen to with Lotz admitting she is sorry over and over, before a full band kicks in at almost the 3:30 minute mark. It’s a bold move but one that pays dividends.
Last year’s “Comfort” which acted as a forerunner to the album was possibly my favourite EP of 2017 and its inclusion here is welcome. A quiet, angry song, where Lotz blames herself for the reaction she generates in others. Led by just a guitar all the heavy lifting, melody and depth is provided by Lotz’s voice; soft for most of the song but loud and defiant as the song concludes.
The first half of the album finishes with “Shy”, another simple guitar led song; it’s one that speaks again of paranoia, of second guessing the partner’s perspective and their views of Lotz. It’s a fitting end to the Tightrope Walker element. It’s the realisation that something has ended... and a great set up to side B.
Miracle Clinger by contrast feels subtly different. Kicking off with title track, “Magic Gone” finds Lotz in a different place; there seems like more resilience to the song, the feelings of giving up appear to be replaced by a feeling of moving on. It’s more contemplative and reflective as opposed to the raw pain of side A.
“Shine” is a slow burner, a beautiful guitar line accompanied by the gentle drums of the only other player on the album, Derrick Macias. It’s a song that alludes to sexual identity and partly confusion around how to fit in; or be what other people want you to be. Again the lyrics are superb and the delivery full of emotion.
Both “Carve” and “Something From Me” are quiet songs, finding Lotz in a much calmer more serene place, and act as a chance for her to showcase not only a musical ability but also a fantastic range. In terms of content Carve is very much about hiding away whilst Something From Me, with its piano melody a soft accompaniment to Lotz’s voice, deals with mundane everyday things that one often focuses on whilst having a relationship breakdown. Both are equally stunning and complement the other fantastically.
Closing track “Stardust” is special. It’s very reminiscent of a subdued track by emo legends The Hotelier; it sounds like a song that could have made it onto their last opus “Goodness” and it’s one that hits all the feels. Everything clicks from the acceptance and defiance of Lotz’s vocals to the changes in tones to the slightly off kilter melody providing a unique and paranoid feeling; at times feeling claustrophobic yet escapist as Lotz lets her voice exist in a space outside the song. This is the epic culmination of the journey where Lotz questions the life she could have had. It feels like an acceptance of past mistakes and awareness of the good things of the relationship but the end at the same time. After all the flip flop emotions, angst and frustration on show over the previous 9 songs this is the escape; this is Lotz moving on and accepting who she is and where she is in life.
Writing this review has been hard as the sheer quality of the lyrics, musicianship and craft can’t be fully appreciated by my words alone; it’s a truly living, breathing album where we get to see all the pain and emotion bottled up within the fragile human psyche as one deals with change and turmoil. I’ve obviously painted a picture of a near perfect album and in many ways it is. Everything feels polished, carefully considered and a labour of love; but at the same time it feels slightly flawed - but deliberately so. The only human element on show (Lotz’s voice) sounds completely natural, raw at times and certainly not over produced, allowing her natural accent to come through in places; when in a lower register some of the clarity gets hidden, and Lotz almost mumbles through, reinforcing the perspective of trying to hide away. These imperfections generate a human “flaw” throughout the album; reminding you all the time that this is the story of a real person. I should also add I’m typically ambivalent to what feel like “concept albums” but again here it all works and flows naturally. The journey needs to be followed as Lotz intends; taken in isolation some songs don’t click in the same way as they do when heard in order. It’s an album you have to consciously invest time in to fully appreciate, in much the same way as one would imagine Lotz has in crafting it.
Petal return to the UK later this year. Based on past performances and such a stunning collection to showcase, these gigs promise to be ones not to be missed!
Stream and download Magic Gone here: https://petalpa.bandcamp.com/
Like Petal here: https://www.facebook.com/petalPA/
This review was written by Richard Mair.
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