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Don’t expect this to be a happy album.

That was Laufey’s message for her fanbase of “Lauvers” (as she affectionately calls them), in a TikTok video three weeks before releasing “A Matter of Time.”

Laufey’s third album, which was released Friday, is a stark change from the innocence of her first two albums. Gone is the Laufey who dreamed of having a “Valentine,” felt “Lovesick” and struggled with the teenage insecurities that plagued her in “Letter To My 13 Year Old Self.”

Instead, “A Matter of Time” presents an unfiltered version of the Icelandic-Chinese artist, pushing more boundaries with songs that are “a little weirder and more surreal.” This Laufey is one who’s tired of “chasing beauty,” who’s trying to stay true to her newfound self while meeting the challenges of love head-on.

That theme is reflected across the album’s 14-track, 45-minute runtime. Laufey shares her most recognizable jazzy tones while dipping into other genres, continuing to separate herself from other artists.

In the album’s intro track, “Clockwork,” the singer-songwriter opens with familiarity, spinning the jazzy background of the track into a modern hit with lyrics like “Damn, he’s smiling, staring back at me / We’re the arcade, think it’s going perfectly.” Laufey details the normal first date jitters before closing with, “Like clockwork, I fell in love with you,” setting the stage for the second track, “Lover Girl.”

“Lover Girl” has all the bossa nova charm of the singer-songwriter’s most-streamed song, “From The Start,” and is one of the standout tracks from the entire album. The catchy chorus puts it over the top.

The album’s third track, “Snow White,” is where Laufey really deviates from her usual sound. The challenges that Laufey approaches are no longer about teenage anxiety; they explore more mature themes of meeting societal beauty standards as a woman. The vocals feel like listening to an unedited live recording, with guttural emotions behind each lyric.

This frustration builds up as Laufey tries to stay true to herself, pushing her relationship into uncharted territory in the next tracks, “Castle in Hollywood” and “Carousel.”

While “Castle in Hollywood” feels lyrically weaker than the rest of the album, the message is still strong, as she sings about the heartbreak that comes when a relationship starts to crumble. “Carousel” is more of the same, as Laufey grapples with her past self. “Such a spectacle, you signed up for one hell of a one-man show / Tangled in ribbons, a lifelong role,” she sings.

The album (and Laufey) reaches a breaking point with “Silver Lining” and “Too Little, Too Late.” With another raw display of vocals, she continues to question herself and her relationship. She transitions from “Silver Lining” with “When you go to hell, I’ll go there with you too,” into “Too Little, Too Late,” singing, “I’ll see you at Heaven’s gate / ‘Cause it’s too little, way too late.”

In the instrumental interlude “Cuckoo Ballet,” Laufey officially lets go of the lost relationship, leaning further into her reimagined self. The second half of the album follows, where Laufey fully begins to experiment after the breakup.

“Forget-Me-Not” is a tribute to Laufey’s homeland, Iceland, as she leans into the truest parts of herself. With part of the song in Icelandic, a call back to previous songs like “Ég Veit Þú Kemur”, Laufey sings about how much she’s sacrificed to get where she is.

“Love you forever, don’t let go of me / I left my own homeland to chase reverie.” It’s another one of the album’s standouts, the simplicity of the lyrics working in the song’s favor.

After the momentary reprieve from the tracks about her struggle with the relationship, “Tough Luck” sucks listeners back into the romantic whirlpool, with lyrics that attack Laufey herself.

“I should congratulate thee for so nearly convincing me / I’m not quite as smart as I seem / That I’m a loudmouthed nobody,” she sings.

The internal battle rages on in “A Cautionary Tale.” Laufey sings about her frustration at compromising herself for the relationship.

“I gave it too much, I gave myself up / I lost sight of all my dignity / I’ve always been smart, my chameleon heart.”

As Laufey continues to experiment between genres while moving past the relationship, the album moves on to “Mr. Eclectic” and “Clean Air,” which thrive as standalone tracks.

“Mr. Eclectic” offers more jazzy tones, suggesting she’s begun to find herself again. “Talking ‘bout some dead composer / You’re just a stoner patronizing me,” she sings. The tone in these lyrics isn’t bitter; it’s a sign she’s moved on.

The 13th track, “Clean Air,” follows the same theme. With its distinct country feel and twangy background, sporting shades of Sabrina Carpenter, it’s unlike any of Laufey’s previous songs. The track features blunt lyrics like “My soul has suffered, get the f*ck out of my atmosphere / I’m breathing clean, clear air.”

Just when everything seems on the up, the album’s 14th and final track, “Sabotage,” brings all that progress to a screeching halt.

“So prepare for the impact, and brace your heart / For cold, bloody, bitter sabotage” serves as the preface for two jarring cello solos, breaking up the song and giving the album a dissonant finish.

While “Bewitched” set high expectations, the singer-songwriter’s third album did everything it could to meet them. “A Matter of Time” is wholly Laufey: it’s unpredictable, raw and unlike anyone else.

Published on August 26, 2025 at 11:01 pm
Contact Henry: hdaley@syr.edu