The Good Witch, Masie Peters’ sophomore album, recently came out in June, but the indie singer-songwriter has just surprised fans with a deluxe edition of the album.
Released on June 23rd, The Good Witch is 47 minutes long and contains 15 songs. The original album encompasses a great deal of big feelings as Peters unpacks a breakup and the long process of putting herself back together again. The album was a great success.
On Oct. 27th, Peters came through after weeks of hinting about dropping something when she finally released the deluxe version of the album, which along with the original 15 songs, contained six new ones: “Holy Revival,” “Yoko,” “The Song,” “Guy On A Horse,” “Truth Is” and “The Last One.” While sometimes catchy, almost all of the six new tracks seem better left on the cutting room floor. There was a reason they didn’t make it onto the original version, and it becomes clear when listening to the deluxe album as a whole.
On their own, the six songs aren’t terrible. Lyrically, Peters may one day be considered a genius, up in the ranks amongst people like Taylor Swift. Still, there is work that must be done before that comparison can truly be made.
The first bonus song, “Holy Revival,” tells a story that anyone who has had their heart broken can relate to. Unfortunately, the speak-singing that characterizes the verses takes away from the listenability of the track. The song itself feels unfinished, as if Peters went into the booth, did one vocal take and went with it. “Holy Revival” feels more like spoken word poetry delivered at a downtown coffee shop open mic night than an indie-pop song on what is otherwise a pretty decent album.
“The Song,” the third bonus track, tries its hand at the ‘getting over you’ kind of break-up song that artists like P!nk have perfected. But unlike Sara Bareilles’ “Gonna Get Over You”—a major stand-out in this genre— “The Song” lacks the kind of energy that makes this kind of song shine. Bareilles’ “Gonna Get Over You” plays with poppy piano and bright guitar. The track is populated by jazzy drums and an upbeat rhythm. “The Song” attempts to do something similar, but the heartbreak-inspired lyrics seem out of place hanging against a backdrop of upbeat synth rock.
Perhaps Peters would have been better off producing “The Song” like Sara Bareilles’ “Breathe Again.” A similar theme, “Breathe Again” contrasts “Gonna Get Over You” with its stormy sound, full of anguished grief and torn ideals. Lyrically, “Breathe Again” is very similar to “The Song,” and while she is trying her best to produce it like “Gonna Get Over You,” Peters would have been much better off exploring an alternative avenue.
The album wraps up with its final bonus track “The Last One.” The song is endearing, telling a story of never-ending love. While certainly young, “The Last One” is one of the better bonus tracks. The sound matches its lyrics, wistful and dream-like, utilizing pleasing harmony and computer-altered vocal flares. While it—like many of the bonus tracks—feels like it still needs work, “The Last One” does a decent job of tying the album together with a pretty little bow.
While the original album is a nice addition to the break-up album genre, The Good Witch (Deluxe) loses some points for its lacking bonus tracks. Perhaps Peters would have been better off leaving the album as it originally was.
