I gave high praise to Caitlyn Smith’s last album Starfire. Hence why I had such high hopes for the follow-up and put it as an album to watch out for in my inaugural Spinning All The Records feature. Unfortunately this album does not live up to the hopes I had for it. It would be hard to call this album anything other a disappointment from my eyes and that’s hard to say considering the immense talent of Caitlyn Smith. But that’s just it: Smith has an amazing voice and even better songwriting skills. And it results in Supernova. She’s just capable of so much more.
The album begins well enough with “Long Time Coming.” It’s a dramatic song about overcoming darkness to reach the light. Smith sings her ass off and delivers a belting performance that impresses. The production has an immediate gravitas about it and grips the listener. While the production works really well in in this song and other moments on the album, this extra emphasis on the production is the ultimate detriment of the album. “Damn You For Breaking My Heart” is another highlight on the album, a cutting track about having a hard time getting over a breakup. Smith adds so many nice little details to give the story texture, such as trying to hook up with a stranger and then feeling the instant guilt because she can’t get over her ex.
“Put Me Back Together” feels like a mainstream play, but it’s an enjoyable enough song, as I find it easy to sing-a-long with. Smith delivers a fun vocal performance. I think this song would be easier to enjoy if the rest of the album was better though. “All Over Again” is another song that contemplates lost love and the what ifs of the relationship. It’s just fine. Neither good nor bad, as nothing about the production nor the vocal performance stands out. It feels like playlist filler and this certainly isn’t the last instance of this on the album. “I Don’t Want to Love You Anymore” is great with it’s stripped down, airy production that allows Smith’s voice to carry the story of the song. Despite this being another song about not wanting to love someone anymore, it’s Smith’s vocal performance that really sells the emotions of the song and makes it connectable.
The album’s title track centers around the concept of time, how things can change so fast and trying to enjoy the moment. I really enjoy the songwriting and Smith’s eloquent, yet nuanced approach to time. But man do I find the sound of the clock hands in the background to be annoying and distracting. I get the inclusion of it, but as soon as I hear this the first time it bugs me every time I hear it the rest of the song. It’s just not necessary and it takes away from what should be a great song. To make matters worse this leads right into the playlist filler portion of Supernova. “I Can’t” sounds like a generic B-cut from a (insert pop star from the 2010s) album. “Rare Bird” feels like it drags on and on, as Smith has nothing interesting to say in this love song. “Midnight in New York City” has a cool aesthetic, but the lyrics are completely forgettable.
The monotony gets broken up on “Fly Away,” which is a fun love song. It’s catchy and the bounciness of the production gives it a lightness and carefree feel that fits the lyrics well. Although I would be remiss if I didn’t point out that this feels like a lesser version of “Contact High.” I really enjoy “Feel That Way” at first. It’s soulful, swelling with emotion and utilizes Smith’s vocals perfectly. But it goes too long, as at about the three minute mark Smith’s repetition of the hook makes it a frustrating listen. It’s very similar to how in hip-hop when an artist repeats the hook one too many times, crossing from fun and catchy into terrible ear worm territory. The album concludes with “Lonely Together,” an admirable attempt at a heartfelt love song. The soft piano play sets the mood for this type of song exactly the way you would want it. But just like so many other songs on the album, the lyrics don’t stand out enough for me.
The tale of the tape for Supernova is quite simple: this album focuses too much on flash and not enough on substance. Smith seemingly forgets about her greatest strength on this album and that’s her songwriting. It soared and impressed on Starfire. On this album the songwriting is so lifeless and it feels like so many themes are used multiple times and recycled. There are some bright spots on this album, but they’re dominated by what I would describe as run-of-the-mill pop rock moments for the most part. I never thought I would levy this kind of criticism toward a Caitlyn Smith album, but the songwriting just isn’t good enough. Supernova is ultimately just an okay album.