Listening to each track as one would listen to a partner in conversation opens up a unique experience.

Thematically and lyrically, Summer’s Not That Simple functions as a monologue at times, and a narrative at others. Kruger’s lyrics are seldom wasted on wild melismatic runs, but instead, work to convey emotion with purpose from line to line over. In the opener ‘Empty Hands’ the instrumentation punctuates the vocal performance and also acts as an extension of the melody as heard in the refrain of ‘Blue Leaves’.  

The harmony between the band and Kruger’s vocals is what really makes this album shine. Lead single ‘Winter’ illustrates how guitars wash the background with a full complement of distance and atmosphere while Kruger holds close to the ear with an immensely soothing drawl. It is a motif that can be found in abundance throughout the album.

Dave Langemann and Digital Forest Studios worked magic with a sonic presentation. Along with a well-rounded bass guitar sound, Kruger’s vocals have enough body help to anchor each song. There is also plenty of detail to capture the breathy nature of her voice, remain intelligible and accentuate emotion. Drums are not much of a focus in this record, but as evidenced in tracks like ’My Love’ they have weight and depth without stepping on or cluttering the mix. Guitars and various other instruments provide a perfect bed while retaining their intelligibility and are kept well out of the way of the vocals.

One overeager strum from an acoustic guitar or strayed vocal melody could easily upset the balance that gives this collection of tracks its dreamscape quality. From start to finish, however, the texture and consistency of Summer’s Not That Simple go unblemished. For the first foray into long-play territory, Lucy Kruger and The Lost Boys seemed to have found their stride quite easily. 

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