“The first half of Faces is about one of the loveliest days I’ve had, where I felt so connected to my friends and the universe. The second half is about one of the worst days of my life where I felt like I was being eaten alive by paranoia and fear, I really thought I wasn’t going to make it out alive that day. I thought the contrast of these 2 intense feelings would make an interesting song. The bits where I’m just singing a tune with no words & the instrumental is meant to represent taking time to reflect on these things.”
“Faces” is plainly ambitious from its opening moments, as the band backing Rodgers opens up a cavernous soundscape of guitar and synth which her voice orbits around. Rodgers matches with her tremendous voice, used quietly but pulling from the deep well of love that seems to be overflowing in the moment as she engages with her body and every living thing around her.
As it shifts into the more emotionally strenuous second half, “Faces” doesn’t make a grand departure sonically, still maintaining the anti-gravity feeling of peace, emphasising the fact that the line between joy and pain is razor thin. Rather than flutter down into a gloom around Rodgers’ painful pontifications, the instrumentation rises up with a light but luminous beat, plinks of piano, layers of violin and a ripple of melodious horn, which caps this already-epic track with a dash of perfectly judged grandeur.
“Faces” is only her second official release, it expands the potential of what she might do enormously.