What we talk about when we talk about Sky Ferreira: modeling, drugs, her association with photographer Terry Richardson, maybe.
Understandably, Ferreira’s music has largely flown underneath her reputation as the girl everyone loves seeing in the tabloids. When her drug-related arrest occurred just weeks before her debut album, Night Time, My Time, released, it’s easy to see why her music didn’t get a proper reception. Which is why we’ve named Night Time, My Time our Album of the Week.
For Ferreira, this debut succeeds in hitting a mark she’s been aiming at since she arrived on the music scene five years ago. With “Everything Is Embarrassing,” the glimmering single off her 2012 Ghost EP, Ferreira proved she could cross the model-musician threshold without flailing, but it’s on this album that she insists she’s here to stick around for the music, at least for a while.
Night Time, My Time is undoubtedly a vibe-inducing record, and the mood of the hour is nonchalance. When the picture finally stops spinning, it stands on its own as a shimmering, loose-leafed capture of youthful inconclusion.
In sound, it is a collage of Ferreira’s eclectic musical tastes - which embrace everything from Bowie and Krautrock to French composers AIR - and the aspirations of people looking to make pop hits. While you can certainly zone out among the album’s softer corners, on the titular “Night Time, My Time” and the zen-ly off-kilter “Omanko,” there’s no easy way getting over the album’s first single “You’re Not The One,” one of 2013’s most unlikely hits.
The writing, which Ferreira helmed with help from collaborators, covers everything from reflections about fame to unapologetic, vaporous statements on unsatisfying modern love. Where she could have made a scene, Ferreira opts for the voice of a young person who’s decided not to take herself too seriously. She’s not the raccoon-eyed rebel child the headlines beg you to believe either, and makes her case so eloquently at times that you almost buy it. “It’s like talking to a friend who’s trying to be your lover,” she sighs on “I Blame Myself.” At the end of the day, she knows as well as we all do that the world will continue to talk.
After a wayward journey (record label fallout, launching her modeling career to support her music career, growing up in the public’s eye), that she even released this record is a miracle, and even a miracle a good album does not necessarily make. Luckily for Ferreira - it works. For now, she slinks back into the headlines, elusively hopeful, hardly concerned with any more controversy she may be stirring.