Meg Mac’s rather robust new collation of tracks are compiled purposively to deliver a small yet immensely well-thought-out, thought-provoking album, ‘HOPE’.
Meg’s inimitable, breath-taking soulful voice transcends a breath of conviction into the rather delicate, vulnerability of her carefully-penned lyrics rolling from song to song throughout the record.
Since dropping the soaring success of ‘Low Blows’ EP (2017) and her memorable debut self-titled album back in 2014, Meg is definitely back for more whilst staying true to herself.
‘Give Me My Name Back’ is penned for anyone who’s ever lost an important part of themselves which they need to reclaim to move forward with their lives. Her lyrics are simple yet so smooth as she sings, “I can’t go home without it.” The hard-hitting synth jolts the song to life as Meg urges for her name and her ‘soul’ to come back, so she can feel herself again.
The accompanying music video hits deep, as Meg passionately spills her thoughts out to a room full of women, bringing the song to life showing perhaps showing how often as females we can often feel like we can’t be our true selves in fear of someone or that voice in our head saying, “what are you gonna call me now.”
‘Something Tells Me’ showcases Meg’s gentle yet audacious voice, particularly the subtle raspiness yet warming tone which is like a slow burning fire. The steady ticking melody aligns as Meg sings, “I’m better when you’re gone.” Meg reflects on her own metamorphosis and how even though she has grown, like everyone, there’s always some things she can never truly change, particularly her own self-critic as an artist, as articulated in the music video when she sings alongside the piano, “just soaking up the shit you tell me.”
One of the more modern sounds on the record, ‘Hope’ is somewhat dizzying as Meg repeats over almost hypnotically, “I’ll hold on, baby, ‘til it kills me, kills me, kills me, kills me.” The clicks come in filling the space the rousing trumpet leaves behind, imitating ‘hope’ and how it will arise in the most unexpected but often pertinent moments in our lives. Once the synth enters in all its confidence, it naturally gels with the huskiness of Meg’s voice. In essence, the track rings like a modern gospel, eerie yet comforting.
‘Head Away’ opens with rather modest yet hard-hitting piano chord which is touched on with sprinkles of synth as Meg’s vocals cruise over the slapping bass. Singing about how she needs to distance herself from a person who’s crowding her thoughts, “coz even if I wanted to, I can’t wake up next to you.”
‘I’m Not Coming Back’ resonates with Meg’s mix of reverbed and static vocals, which purposefully echo during the chorus as she sings, “what you gonna do when I’m not coming back.” The instrumental resembles some of her previous tracks, ringing true with the combination of the hard-hitting piano melody, steady beat and tambourine hitting like a heartbeat.
‘Want Me To Stay’ is built solidly through its suspenseful strings and raindrop keys then Meg’s lively, awakening vocals echo bringing rigour into the overcast instrumental.
‘Before Trouble’ closes the album but starts with a fiery, humanly warped vocal melody which adds depth alongside the gentle subtleness of the strings, creating an almost meditative yet lively soundscape. Meg purposefully articulates each lyric, “be my friend, before trouble” to which the claps jump in and your instantly enthralled into the gospel, soulful tones Meg has well-crafted over the impressive trajectory of her music career.
Get yourself a copy of ‘HOPE’ click here.