On her sophomore album “Next Thing,” New York singer-songwriter Greta Kline is floating on airs, or so it would seem on “Floated In,” where she proclaims she’s begun living.
With “Next Thing,” Kline puts to rest any claim that a song less than a minute and a half long could be considered disposable in the “content” era. In lyrically wearing her heart on her sleeve, Kline finds empowerment in vulnerability.
As its album art indicates, much of “Next Thing” was written while Kline was experiencing her first major tour supporting “Zentropy,” an exercise in learning how to be a professional musician. In many ways, “Next Thing” is about subverting public and media expectations of who Kline is. “My soul is not like a waterpark,” she muses on “Sinister,” “it’s big and surprisingly dark.” It’s learning how to be at peace with oneself and refusing to accept other people’s false perceptions of you.
Yet for all of Kline’s sarcastic, dark humor amid deceptively innocent twee-pop, consider the names that fill the air in “Embody,” an ode to friendship that’s about channeling the positive attributes of loved ones in times of trouble, or how she ruminates on the magic of a kiss that never was from “On the Lips.” Kline has a knack for drawing the big picture from the smallest interaction. The infinite universe is her palette, and “Next Thing” has all the makings of an artist refining her craft. “Sometimes I cry cause I know I’ll never have all the answers,” Kline concedes, learning to take solace in the unknowable wonders of the world as she continues to grow in it.