After enchanting listeners with Bewitched, it’s time for Laufey’s return with her third studio album, A Matter of Time, a project that leans further into her signature blend of jazz, classical and bossa nova. The Icelandic-Chinese singer-songwriter has become one of Gen Z’s most unexpected stars by making a genre often thought as old-fashioned feel intimate and undeniably modern by telling lyrical storytelling about love and growing up. Laufey takes a step further with A Matter of Time, and compared to her earlier albums, she features her most vulnerable lyrics and songwriting, admitting struggles about self-image.The new album attempts to dive deeper into fragility and unpredictability; it paints a self-portrait of Laufey for all of her audience
The album opens with “ding-dong” on the track, Clockwork, a foreshadowing of what’s about to unfold. Going over self awareness and fickle fantasies, Laufey’s jazzy vocals bring a familiar sense of lightness and puerility. Following and adding to this theme of love, Lover Girl uses subtle references to address the timeless ache of long-distance love.
Snow White can perhaps only be described as the clock striking 12, as Laufey’s tone and mood completely changes, and she transitions from love to lamenting. “But mirrors tell lies to me, my mind just plays along”, and “People want beauty, skinny always wins”, are powerful lyrics that she uses to bluntly address societal issues, and attempt to connect with her audience at a deeper level than usual for artists.
As time elapses over the album, Laufey goes back to a smoother, melodious, pace with Silver Lining. With beautiful high and low vocals, she describes the love and affection she receives from a lover. With personal and sweet lyrics like “When you go to hell, I’ll go there with you too”, She captures the freedom of being wholeheartedly in love. Its elegant orchestration establishes the mood right away, indicating the intimacy and emotional growth balanced through the album.
However, like all good things, Laufey’s enchanting fairytale doesn’t last very long. Too Little, Too Late captures the ache of a relationship’s aftermath. Asserting, “I should be who you’re engaged to” draws a familiar trope of unfulfilled love, where the song’s tones are comforting yet ominous. Her vocals rise with intensity, the violin grows faster, and the ending has a subtle reprise of Bewitched’s instrumentals which invoke the dreamlike optimism of her previous album, highlighting the contrast between love’s initial magic and its inevitable end.
After the heartbreak and longing in Too Little, Too Late the album offers a moment to breathe. Cuckoo Ballet – Interlude arrives gently, carrying playful instrumentation that guides the listener through shifting moods to prepare for what comes next. On her Instagram story, Laufey said “If you’re not listening to the interlude, you’re listening to the album wrong.” With the familiar “ding-dong” in the background, and mellow tones with her signature instruments like the cello and the piano, the interlude’s almost like a rollercoaster with fluctuating themes and moods and octaves.
Laufey shows that softness doesn’t always link to vulnerability with the track Sabotage, which explodes into orchestral chaos as she recognizes her own patterns of self destruction. In contrast, Tough Luck bursts with spirited independence, delivering a sharp yet elegant message. Together, these songs demonstrate her scope as a writer who isn’t afraid to explore all the aspects of human emotion.
Forget-Me-Not, captures a not-very-well-known side of Laufey, as she nods to her Icelandic heritage in the song with the lines, “Gleymdu mér aldrei þó ég héðan flýg, Gleymdu mér aldrei, elskan mín”, which translates to the chorus’ lyrics of the song- ”Never forget me even if I fly away Never forget me my love”, reaches out to her old lover.
Castle in Hollywood showcases one of the album’s most cinematic moments. Beginning with recurrent guitar chords, the song evokes a sense of longing and nostalgia. The song’s lyrics reflect a broken friendship: “We’ll never go back to our castle in Hollywood.” This song strikes a balance between longing and an added tension as she describes the end of a shared dream, implying that even relationships based on fantasy can end in heartbreak.
Laufey collaborates with singer-songwriter Clairo in one of the album’s brutal and lighthearted criticisms is found in “Mr. Eclectic.” Laufey mocks the performative admirer-“Bet you think you’re so poetic… Mr. Eclectic Allan Poe.” This line mocks the empty nature of his displays and ridicules his demonstrative intelligence. It’s a bold takedown that’s elegant without being pretentious.
With A Matter of Time, Laufey proves that jazz can be both timely and timeless by weaving together playful moments, heartbreaking honesty, and rich arrangements, she continues her mission of making a classic genre feel personal for a new generation. The album balances intimacy with ambition—whether she’s admitting relatable insecurities, reveling in love, or critiquing pretension, Laufey never loses her light touch. Laufey’s growth as a singer is as evident as her broadening as a songwriter. The classical style paired with relatable themes combine together to make a timeless record. Laufey’s dynamic, from an inamorata to a symbol of honesty, is apparent in this record that grows richer with every listen, reminding us that even in the fleetingness of time, music can preserve moments of truth and beauty.
