Erika de Casier – A Lifetime

      On her fourth album, the Danish artist skillfully intertwines her different phases, revisiting, refining, and enhancing the sound of pleasure she has developed over time.

      Since the harpsichord-tinged RnB of 2019’s ‘Essentials’, Erika de Casier has celebrated the syncopated rhythms of Y2K obsession in her music. Her newest album, ‘Lifetime’, emerged as a remnant of that time. After a series of hints and teasers, its full form was unveiled last week when the Danish singer-songwriter released a limited quantity of untitled cassettes on Bandcamp. Revealed by eager fans and online listeners as Erika’s fourth studio album, its lost tape aesthetic recalls ‘90s MTV and post-millennial TRL; a time when music was physical and visual, enjoyed slowly and intentionally, with foldouts and fanzines scattered about, and lyrics meticulously analyzed.

      At times, Erika has faced criticism for crafting a sound that is focused on being understated, moody, and atmospheric, rarely letting loose like in her club-oriented collaboration with Nick León, ‘Bikini’, or on the vibrant K-pop hits she helped produce in 2023. With ‘Lifetime’, Erika subtly modifies the languor in her mood music to present worn confessions that are more raw and jagged, supported by a low-fidelity, skillfully arranged blend of new jack swing and trip-hop textures, quiet storm, and smooth jazz.

      Composed and self-produced from August 2023 to November 2024, Erika chose not to release it through 4AD, the Beggars Group label that handled her second album ‘Sensational’ as well as last year’s ‘Still’. This move is purposeful: ‘Lifetime’ represents Erika’s bold reconfiguration of her understated sound into a nostalgic portrayal of the passage of time; the loss of youth and innocence, the fleeting nature of years past, and the experiences that shape and transform us as we grow older. The tracks ‘Miss’ and ‘You Can’t Always Get What You Want’ establish these themes early; melodica rhythms pulse with quiet confidence, but also with tension and sadness over what has occurred, mixed with an anxious anticipation for the future.

      Originally called ‘Midnight Caller’, Erika presents her intriguing, abbreviated verses as night-time reflections, repeating and echoing them in a mantra-like fashion. The world-building is enticing, and the writing is astute. ‘The Chase’, constructed from precise bleeps, a clear beat, and distant vocals, unfolds the ‘trauma attraction’ central to this cat-and-mouse narrative, vividly capturing the vague nature of contemporary relationships; ‘Moan’ shifts the mood, presenting a battered yet compliant Erika ready for intimate bliss—moaning, cooing, and purring her way to ecstasy. The delightfully captivating second-to-last track ‘Two Thieves’, an ambient journey with deep bass lines and slow percussion, showcases Erika at the peak of her sensory abilities—a vessel for a late-night encounter that may or may not have occurred. It’s all about the quiet moments and the spaces in between.

      In the dreamy titular track, Erika embodies multiple lifetimes. “It lingers in my body when I realize that love is all we have and I will be the grown-up she needed, I promise that…” Erika sings to both her enduring love and her younger, more impressionable self that craved this newfound wisdom. It’s a soulful, atmospheric tribute to the clarity that comes from the self-love that has finally been embraced and grounded.

      On her fourth album, Erika de Casier tones down her collaborative tendencies, focusing more on her own instincts as a producer. Like a slow-building romance, ‘Lifetime’ is a collection that spans years, and its rewards do not come immediately. Erika de Casier has never been one for dramatic transformations. With ‘Lifetime’, she skillfully ties together different periods of her music, revisiting and enhancing the sound of joy she has nurtured over time. With ‘Lifetime’, she has ultimately arrived at a sound characterized by sweet surrender.

      9/10

      Words: Shahzaib Hussain