Having already received critical acclaim and owning one of bandcamp's best selling albums in indie pop, it’s no surprise that Alicia Clara is garnering attention with her debut album, Nothing Dazzled. The Montreal-based singer songwriter has released previous EPs that led to this much-awaited moment.

Opening the album with twinkling synth, chill guitar arpeggios, and breathy vocals all suspended over an ambient tone, “Heard You” is an intriguing introduction for listeners. As the song progresses, the track is masterfully layered. Echoed harmonies drift in, accompanied by distant percussion, and gentle piano. A slow fade back to an ambient space closes out this track.

A flawless transition and rising tone ascend the listener directly into indie pop. Bright hi-hat paired with smooth drum rhythms from percussionist Ryan White drive the piece forward. Distorted electric guitar and ethereal vocals lilt over the texture laid down in the instrumentals. A build up leads to a distorted guitar solo and exposed percussion.

“Today I got out of the house for the first time in 96 hours / Do you know how many days this is?” – It’s Getting Old

Written during the pandemic, this album revisits the familiar sting of lockdown. “It’s Getting Old” opens with candid lyrics, slick bass guitar groove, and shuffling percussion rhythms. Dreamy ostinatos and inviting vocals offset the vulnerable songwriting. As the piece is stripped back, the instrumentalist changes chords and the listener can pick up on the friction across the strings, giving the piece an intimate feel. The piece fills out into a lush texture that makes the listener want to sway along and enjoy the vibe.

“How to Dress” explores the feeling of changing for others, trying to find oneself, and identifying their place in this life. Acoustic guitar arpeggios and airy vocals set the tone of the piece. Gorgeous vocal harmonies are introduced, followed by piano, and a stunning string arrangement done by Markus Stahl. Poignant lyrics such as, “I wanna believe I am somewhere else / I wanna relive the life of someone else,” resonate deep in the soul.

Exploring Clara’s lower vocal range as paralleled harmonies hover above, “Glory” sets a solemn tone. The piece feels like introspection and possible regret. Lyrics such as, “I never wanted to / Single you out and do / Everything I despise / Watch myself turn into a fine player in disguise / Cruel Game” invite the listener into Alicia Clara’s vulnerable thoughts and feelings. Rhodes piano can be heard through the texture of breathy vocals and acoustic guitar.

Eponymous track, “Nothing Dazzled” opens with distorted guitar, rock drum groove from Mitch Davis, and a lush bass line provided by Michael Kalman. Clara’s vocals evoke dream pop while soaring over the definitive indie rock feel of the instrumentation. The piece slowly cascades into fuzzy distortion, crash-forward percussion, changing the mood as the track fades out.

An ambient soundscape, crickets, dreamy electric guitar, and a lilting melody set the scene for “Around the Corner.” Folksy acoustic guitar and backing vocals, provided by Ali Hendra, are introduced, shaping this piece into one that's nostalgic and touching. A clarinet solo from Chris Edmondson brings a new color to the texture and is a beautiful addition to this standout track.

Characterized by dream pop guitar, shuffle rhythms, and the playing of time and meter, “So Cool” lives up to its title. This piece explores acceptance and identity, the manipulation of time plays into the concept of changing ideas and truths. The piece descends into psychedelic pop as it approaches the end. As the line, “There can only be one,” is repeated, synthesizers and distorted speech are all layered atop one another, making for a dizzying conclusion to the piece.

Feeling like reassurance, “I Hang My Sweater in May” is full of folk inspired chords and bittersweet lyricism. The song explores the awakening of spring externally, while internally it can feel impossible to shake the gloom and heaviness of what came before.

“Grasshoppers hop, call each other atop / The telephone lines and the crops / Flowers sprout in backyards, wild / Like a fairy woodland”

Set amongst acoustic guitar, stacked harmonies, synthesizer, and airy vocal tone, the lyrics blend the awe of the change and the weight of stagnation. The texture is slowly built, verse by verse, introducing electric guitar, piano, and percussive elements from Jonas Bonnetta.

“And I slept through it all / In a bed that is mine / As much as the earth is ours / For as long as we have time”

Opening with an ambient soundscape and beautiful saxophone solo from Chris Edmondson, “Blame It On the Moon” is a crushing, yet stunning, conclusion to this album. Alicia Clara’s soft vocals offset the weight of the lyrics beautifully. This piece feels like reflecting inward and struggling to like, or accept, what is found.

“Baby I wish I knew / How to talk to you / About a thing or two / My words are out of tune / This I know is true / Won’t blame it on the moon”

Acoustic guitar beckons the piece forward as ethereal vocals support in the background. Developing the texture, electric guitar arpeggios suspend the piece as it tumbles to meet a percussive groove with jazz-inspired elements. Lilting vocals and saxophone flourishes float above the rhythm as the piece comes to its conclusion.

This album shines a light on all those places within oneself that need to be explored, no matter the outcome, and navigating the truths that are laid bare. The blend of indie rock, dream pop, folk, and ambient elements make for a stunning and introspective listen.

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