“When you’re close it makes me feel like/I just wanna burn it down,” she murmurs.Īcross Love Hallucination, uncertainty and self-doubt play against sneaky self-confidence. (“Show me you can run it like a marathon,” sung in a sweet melody, ranks among Lanza’s most memorable refrains.) On the dreamy “Casino Niagara,” she channels Jackson over a delayed beat and nodding bass that keep uneven pace behind lyrics about a fraught relationship. Lanza transforms it into something buoyant and outwardly lustful the sultry workout peaks with an ecstatic, surprising sax solo she played herself. She draws on the superstar’s frisky sensuality more than ever on “Marathon,” a spangled, finger-snapping standout originally written as a demo for another artist. Janet Jackson has long been one of Lanza’s north stars, but the comparison is especially salient across Love Hallucination. It bears out the album’s success in joining Lanza’s laid-back style with fellow producers eager to bend club influences to fit her featherlight presence. The chorus exemplifies Lanza’s vivid, hopscotch phrasing, spelling out the title in a cheerleader chant that becomes a wistful plea by the time she elongates that final, breathy “ oh.” “Midnight Ontario,” an R&B ballad featuring co-production by Jacques Greene, circles a two-step beat until its full-screen, hypnagogic chorus. “I’m not good at saying no,” she admits on the upbeat standout “Limbo,” a co-production with German DJ Tensnake that channels the rush of an irresistible fling into an elastic bassline and sugary backing vocals. She brings an observant lens to heady desire, pairing her findings with straightforward, instantly appealing pop hooks. Following a move from New York to San Francisco, she’s now settled in Los Angeles, a locale that informs the new album’s breezy, limber mood. As with All the Time, Love Hallucination marks another period of change in Lanza’s itinerant life.
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