Grogan is not happy making radio-friendly polished pop, showing a far more soulful side.
Singer Emily Grogan seems to exude a sense of confidence that shines through on the chipper, infectious, and appealing Beatles-influenced “End of the Line”. However, the strength lies in the fact that she is not happy making radio-friendly polished pop, showing a far more soulful side that doesn’t reach the dramatics of Aguilera but still packs a punch with “Time Is Waiting”. This is also the case with the 4 Non Blondes-ish “Weathervane”, which strolls along with an uncanny gracefulness and ease. However, there are a few occasions where her ideas don’t translate as well, as is the problem with the mid-tempo pop rock of “Lost at Sea”, which sounds a bit safe and tired. Fans of Natalie Merchant or Tori Amos would probably appreciate a melancholic piano ditty like “Restless Souls”. The one oddity here is the psychedelic, Middle Eastern-hued “Psychedelic in A” that has its ebbs and flows. Sorry, make that two when the country-meets-rockabilly “R/Evolution” comes chugging along. Generally, Grogan toes the Lilith Fair-like line with “She’s Gone” and the Celtic-leaning “Upside Upsidedown” that in certain portions brings to mind a Meat Loaf ballad.