Although matthewmaltese offers fewer obvious morsels of hope on 'Krystal,' he affirms that it’s okay to not be okay. Check out lizziemanno's review -
’s Jonathan Rado . The piano ballads he became known for received a facelift via retro pop keyboards, hi-fi production, strings, brass and the occasional vibrating guitar line.packaged his romantic shortcomings with apocalyptic worries and a self-deprecating, surreal sense of humor that’s basically millennial Twitter in a nutshell .
After some U.S. touring this past March, Maltese found himself “stewing in the past” and presumably reeling from a breakup, so he retreated to his bedroom studio in Elephant & Castle to largely record, produce and mix his newest album,trades opulence for lo-fi minimalism—and for good reason.
Songs like “Jupiter” and “Wish You’d Ask Me” represent this stylistic shift as they reach for slinky bass lines and twinkly synth odysseys, while others such as “Tokyo” and “Human Remains” center on heavily-coated guitar reverb. The two lead tracks, “Tall Buildings” and “Rom-Com Gone Wrong,” most closely resemble his debut album with their pleasant piano strolls: Plucky, bright keyboards open the latter as Maltese’s cozy, multi-tracked vocals candidly proclaim, “No shame / I’m dead without her.
Faced with heartache, his second album is a retreat inward, unsure if he’ll come out unscathed. On the title track, he sings, “I’m a mess and I’ll never love anyone else,” and it’s this kind of frozen-in-time dejection that appears on much of the album.
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