When Labrinth’s “Still Don’t Know My Name” was released, I screamed it over and over again after listening to the beautifully haunting score from “Euphoria” Season 1.
Less than six months after the show’s 2019 debut, Labrinth released his solo album “Imagination & the Misfit Kid,” featuring his most defining songs from the season, including “Forever” and “All For Us” with the show’s lead actress, Zendaya. Ever since, I’ve been eager for another solo album release — like “Cosmic Opera.”
Released on Jan. 30, “Cosmic Opera: Act I” is cinematic in its combination of electronic and orchestral elements, merging pop and hip-hop. With 12 tracks clocking in just under 30 minutes, this album is a complete departure from Labrinth’s “Euphoria” work, structured as the first act of a “modern opera.”
Instead of scoring someone else’s story, he “sit(s) with the internal chaos” inside himself, examining his mental health within an industry that values commercial profit over creative expression.
After the spoken word “Something Like An Opera,” Labrinth plunges listeners into his psyche with “Debris.” The haunting gospel choir layers perfectly over constant drumming, mirroring his most memorable “Euphoria” signatures that were defined by their melancholy melodies. After each chorus, the beat drops and Labrinth seems to resurface from a daze — foreshadowing an album full of compelling interruptions and pivots.
“IMPLOSION” is a small, stand-alone opera within the album, featuring brass instruments before switching back to his signature experimental pop. Despite this disconnect, Labrinth stays true to the opera-esque vision for the album.
However, the next song, “S.W.M.F.,” is the definition of chaos. The track spirals through rapid genre switches unapologetically. Including dark orchestral instrumentals, gospel choruses and fast-paced hip-hop, it feels as though we are listening to Labrinth’s unfiltered thoughts in real time.
Still, not every song is packed with instrumental intensity. “God Spoke” is one of my favorites, but being slightly over one minute long, it acts more as a palate cleanser from the other instrumentally complex pieces.
Returning to the theme, Labrinth includes an “Opera Interlude” captivatingly sung in Italian, which is heartbreakingly short, but unsurprising for an interlude.
“Big Bad Wolf,” “Orchestra” and “into the black hole” act as centerpieces to Labrinth’s operatic expression, exemplifying the instrumental vastness he utilizes to recreate his inner-conflicts between prioritizing creative authenticity and chasing fame.
Due to its short length, “Cosmic Opera: Act I” demands repeated listening to catch all the layered instrumentals and messaging, but some tracks feel incomplete — perhaps hinting at an anticipated “Act II.” The closing track, “Running A Red,” deliberately denies the listener a resolution, ending the album very softly.
You will feel notes of nostalgia for Labrinth’s “Euphoria” score within “Cosmic Opera,” but the beautiful yearning has evolved into something more chaotic. The harsh pivots from expected melodies don’t always land, but when they do, Labrinth creates a beautiful cosmic atmosphere that is undeniably his own.
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