All the Time

Despite the incredible detail built into the songs on All The Time, the productions still feel spacious and lightweight – a futuristic version of the pop-R&B hybrid we already know. This allows the tracks to be engrossing in their layering, but still leave plenty of space for Lanza’s lyrical expression to come through clearly. And it’s shocking how deeply personal and painful a lot of it is for Lanza.

Further focus is rewarded with a deeper experience, sadder and more upset than you might hear the first time.

While not quite as immediate as its predecessor, All The Time is an enjoyable collection of bops and ditties for those who like their tunes retro and mischievous.

A radiant and eminently danceable album, it’s a necessary salve to put on this year.

All the Time is sincere so it doesn’t have to be deep—merely an invitation to look beneath the surface.

Though All the Time indulges and dissects neuroses, it's not the sound of someone falling off the wagon. Rather, this lush and spacious collection of songwriting shows a hard-fought mental clarity, a deliberate effort to resist the instincts on display on "VV Violence" in pursuit of digging deeper into oneself. Intrusive thoughts flare-up, but they're allowed to wash over, eventually fading away. The payoff is immeasurable.

Whether by consequence or coincidence, All the Time has a lighter and more sensual touch than Lanza's two previous albums. Characterized less by lavishly layered and hypercharged whiskings of electro, house, and juke, its pared-down sound and slower tempos suit Lanza's higher prioritization of lyrics.

All the Time is filled with tracks that get the delicate balance right between experimentation and a love of an uncomplicated pop tune; between nostalgia for the past and a dedication to sounding like the future.

In Jessy Lanza's case, disruption has elevated artistic output. [Jul 2020, p.82]

All The Time is cool and compelling dance-pop. [Aug 2020, p.108]

It fizzles out in places – there's none of the languor of previous work nor the melancholy that collaborator Jeremy Greenspan perfected in Junior Boys – but at its best this is aural champagne, chill, crisp and delectable. [Aug 2020, p.66]

Though it doesn’t quite scratch the same itch for experimentation as her last album, Lanza has once again proved that she’s a forward-thinking producer with a knack for writing irresistible pop music.