In 7 Minutes ‘Til Heaven, Canadian artist GRAE dives headfirst into the liminal space between glamour and grief, sexuality and sorrow. The result is a cinematic, genre-melting project that feels more like a curated art installation than a conventional pop album. And it works — spectacularly.
Known for her ethereal voice and nostalgic 80s palettes, GRAE now infuses her dream-pop foundations with new textures: moody synthscapes, industrial undercurrents, and sensual spoken-word interludes courtesy of Apollonia — yes, that Apollonia. These aren’t just flourishes; they’re structural pillars. Her voice — smoky, seductive, resolute — acts as both muse and mirror throughout the album’s descent into self-reckoning.
“Dark Energy” thrums with a brooding pulse, full of magnetic contradictions. “Cha-Ching” gleefully dissects the Vegas mirage with precision, peeling back layers of artifice to reveal something far more primal. On “Scarlet,” GRAE writes with a diaristic tenderness, while “A(Rouse)” and “Pleasure Breeds Fame” function like incantations, guiding us through the shapeshifting terrain of identity and illusion.
Yet perhaps the most spellbinding moment arrives in “God In A Woman,” a track so fierce and full-bodied it threatens to burst from the speakers. This is alt-pop at its most unapologetically empowered — a reclamation of space, voice, and desire.
By the time closer “Hollywood” rolls in — equal parts elegy and exhale — 7 Minutes ‘Til Heaven feels like more than just an album. It’s a transformation, a shedding of skin.
GRAE doesn’t just bend genre — she bends time, memory, and identity into something gorgeously unrecognizable. With 7 Minutes ‘Til Heaven, she offers us a space to reflect, rage, and revel. And we’re all better for it.
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