Music Spot: Mya Luv - Elevation of Luv (Vol.II)

Mya Luv is a Montreal-based singer-songwriter and producer that wrote and produced this new album in its entirety. Her eclectic influences are evident throughout the album, which showcases her versatility and keen production skills.

From the outset, it's clear that Luv understands the art of creating depth in her production. The album is a sonic landscape of languidly elastic bass lines and lush, layered soundscapes. Luv’s production is not merely a backdrop but an integral part of the storytelling, enveloping the listener in its intricate design.

Her prowess as a producer who knows precisely how she wants her vocals to be positioned shines throughout the album. Her voice is a dynamic instrument that is both the
centrepiece and an integral part of the sonics, adapting as needed to the various stylistic shifts across the tracks.

The album opens with ‘Fireworks’, a bold track characterised by a jarringly loud kick drum set against pillow-soft synths and delicate vocals. The chorus, which explodes into vibrant colour, is a testament to Luv's skill as an arranger and producer, setting the tone for the journey ahead.

‘Summertime Nights’ sees Luv blending genres with ease, combining breaks, jittery hi-hats, and fluid bass lines into a pop song in a way that recalls both trap and experimental bass. The sparse arrangement leaves ample space for her stacked vocals and stabs of eastern-inflected strings, showcasing her ability to weave disparate elements into a cohesive whole.

Luv isn’t afraid of aiming high. ‘If Only’, built around an acoustic guitar figure, shares a sonic and lyrical space with some of the songs on SZA’s ‘SOS’. Meanwhile ‘Sweet Embrace’ opens with a chord pattern reminiscent of The Beatles, only to submerge it under layers of ethereal vocals. This track is a perfect example of her ability to draw from classic influences while creating something distinctly her own.

The middle part of the album takes an unexpected turn into soft rock territory with ‘We Were Kings’ featuring a classic rock dynamic and even some pedal steel. This influence continues with ‘Laughing Now’ and ‘Incomplete’, both of which push Luv to explore new vocal and instrumental territories. ‘Incomplete’ stands out as a track that marries R&B sensuousness in the verses with powerful, dynamic choruses that push her to fully exert her voice. 

‘Take The Time’ returns to pop/R&B, delivering one of the album's strongest choruses. The track’s melodies and groove carry a hint of 80s nostalgia, accentuated by bold tom fills. It’s a confident musical statement.

The contrast with the following track; the sparse and cinematic ‘Queen Of Hearts’ is marked. This track is built around a synth pluck and not much else for the opening minute. Gradually dark textures creep in around the edges while echoing percussion and percussive breathing broaden out the soundscape. Strings sweep up and the effect is a soundworld that once again takes cues from unexpected quarters, recalling the atmospheric electronics of Fever Ray’s debut album. At the midway point the track take a completely unexpected left turn as a funky drum break and bass line crash in out of nowhere. It’s a production tour de force and a striking centrepiece on the album.

‘Elevation of Luv (Vol.II)’ is a masterclass in genre-blending and production. Mya Luv has crafted an album that is both a showcase of her technical skills and a deeply personal artistic statement.

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