Album Review – ‘Lesbian Jesus’ – The Miracle Mainstream Music Never knew it Needed.

Hayley Kiyoko, a women unapologetically creating songs queer females are worthy of

From angelic beginnings at Disney Channel to one of mainstream music’s few openly gay female artists. 26 year old Angeleno; Hayley Kiyoko (aka ‘Lesbian Jesus’ as titled by her fandom) is addressing the thirst for authentic representation and portrayal of female relationships in the form of carefree and flirty anthems. Her unapologetic debut album ‘ Expectations ’ is the music that queer females can finally be proud of. Whilst nurturing her burgeoning pop personality, Kiyoko holds a great deal of responsibility to balance the needs of her niche fanbase that first came to fruition in 2015 following the release a series of provocative and emotionally charged music videos launching same-sex female

relationships through the eye of a mainstream medium for the first time. This album could spark social change but does it meet our expectations?

Answer; debatably yes! The aesthetically flirtatious album artwork, worthy of a wall placed vinyl, can’t distract from the fact the music has to speak for itself. With an ambitious architecture similar to Kendrick Lamar’s’ ‘ good kid, M.A.A.D city ’, two-part song suites (‘Mercy/Gatekeeper’, ‘Under the Blue/Take Me In’) are sandwiched between and an overture (‘Expectations’) and interlude named ‘xx’. The overture introduces an ethereal textured vocal alongside sounds of the coast. Soundbites of distant birds and waves circumference the majority of the songs offering the image of a transcendent world.

‘Feelings’ , the nocturnal serenade, arrives with fat-bassline lines and head bobbing beats setting the tone for the whole album. ‘I’m sorry that I care, I can’t help but care, I over communicate and think too much ’ make it clear that Kiyoko’s feelings are oozing throughout and she’s not sorry about it. In ‘Curious’ we are left on the edge throughout as Kiyoko teases an experimental female whilst letting us know that she ‘ can handle it’.

Unlike the majority of her pop peers, with the exception of Lorde, Hayley sticks to a soft and conversational delivery that draws attention to the power of the narrative. In ‘ What I need ’ and ‘ Sleepover ’ Hayley speaks to a weary and elusive lover, ‘ When we’re all alone, girl, you wanna own it, When we’re with your fam, you don’t wanna show it’. Kiyoko’s dreamy California vocals colour simple chords and her unique perspective is particularly prevalent in the emotional whirlpool ‘ Molecules’ , which leaves ‘ us’ pinning for her lover after the emphatic ‘ i’ve lost you’hook fades to an end.

‘Let us be’ is an appropriate closing title but lacks the soothing calmness needed after the turbulent storm. It doesn’t quite fulfil its full potential but does pose as a full stop to a very well constructed album on a whole.

This is a very bold and unrivalled debut that acts as testament for Haley’s place in the mainstream pool.