Album cover for A Matter of Time
A few years ago, no one would have recognized the name Laufey Lín Jónsdóttir, better known simply as Laufey. But following the release of her second studio album, Bewitched, the artist experienced a tremendous rise to fame as a pop star with a distinct jazzy tone.
Less than a month ago, Laufey released A Matter of Time, her long-awaited third studio album. A Matter of Time, which follows in the footsteps of Bewitched, is also an obvious and intentional thematic expansion of where the previous album left off. While Bewitched focuses on the enchantment surrounding early stages of love and lingering feelings when it ends, A Matter of Time dives into love’s complexities with Laufey adopting a sharper approach. This approach can best be summarized as vengeful romance, a mindset that is not concerned with getting even but instead a reclamation of dignity. Laufey’s revenge is a significant departure from the often-confrontational and aggressive tone of many pop breakup songs, which is no surprise from an artist who never sought to follow convention.
Despite the unforgiving focus of the album, Laufey does not disown sentimental ballads and jazz compositions that are staples of her prior work. In A Matter of Time songs such as “Clockwork” and “Silver Lining” offer lighthearted lyricism alongside a newfound retrospect. The former showcases the delicate balance of a first date and the suppressed joy and fear that come along with it, and the latter is a story of the freedom of child-like expression when in love, backed by dreamy indie-jazz production.
However, as hinted at before, this simple lightheartedness is not the album’s focal point. In one of the album’s forthcoming singles, “Tough Luck,” Laufey narrates an emotionally draining and toxic relationship and her remorseless exit in which she takes the first step in walking away rather than, as Laufey says, “waiting ‘til you lie and cheat.” The chorus’s final declaration, “You won’t be missed, I’m glad to see you go,” reifies Laufey’s unwavering and confident rejection of an unfulfilled romance.
After the album’s official release, she offered fans more instances of this motif. In “A Cautionary Tale,” Laufey declares, “And I can’t fix you, God, I tried/The hourglass I shattered just in time.” Despite pouring endless effort to repair a spoiled love, Laufey realizes that its expiration date is long overdue and that she will not settle for a relationship held together by sunk cost. Unfortunately, the production on this track is evidently unlike the rest of the album. Opting for a pop-forward, “A Cautionary Tale” is tonally at odds with the rest of the album, detracting from the narrative Laufey is attempting to communicate.
The climax of this thematic narrative is unveiled in “Clean Air,” where Laufey effortlessly proves to listeners that her departures were worth the liberty of an unpolluted environment. Backed by country-esque instrumentation, Laufey belts, “Sweeter pastures, wait for me like a lover” and “I’m breathing clean, clean air.” By embracing her newfound freedom, Lín Jónsdóttir can rejoice but also convince others to be unafraid to follow suit.
In her unwavering ability to put her own happiness and priorities first—no matter how uncomfortable it may be—Laufey transforms herself into a role model for those caught in a deluded romance. Her songs show listeners how to regain confidence in the face of turbulence and showcase the threat of becoming trapped in a cycle of depreciation. Even though the romance has evidently deteriorated, a motivation to endure remains due to the initially compelling rewards that no longer exist. Instead of festering hate, one can embrace vengeance by coming to terms and exiting with dignity instead of allowing hatred to become all-consuming. According to Laufey, true revenge isn’t about retaliation. Rather, it’s about regaining her self-respect and leaving, knowing that she was their greatest gift, and conversely, her departure is their most significant loss.
However, the artist presents this vengeful narrative with its own kind of silver lining. On “Castle in Hollywood,” longing for the past is evidently explored in lyrics including, “There’s not a single day/Where I didn’t wish we were better,” painting a nuanced picture. Laufey can accept that even if a relationship may not have been a success, there are still elements that she covets despite the emotional baggage attached.
A Matter of Time, the third studio album, demonstrates a distinct artistic evolution Laufey has undergone since her last album. Her wittier lyricism, which brings a comedic effect to her deeply reflective pieces, plays to her strengths as a songwriter. Regardless, she finds space to breathe and knows that she doesn’t need to take herself so seriously for her messages to land. Additionally, Lín Jónsdóttir’s ability to evolve as a lyricist illustrates that her future will be far from stagnant.
Since her tremendous rise to fame, it was clear that Laufey’s growth was destined to occur in only a matter of time. With this latest album, she has solidified her place not just as a talented vocalist and musician but as a brilliant songwriter. A Matter of Time is a testament to Laufey’s maturity and the importance of self-respect and moving on.
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