These are the main tunes that Reo rounded out with the assistance of a live band, multi-instrumentalists Jack Greenleaf and Felix Walworth, including an instinctive vitality all through, with surprising forms and breaks. Including select extra teammates, in particular Warren Hildebrand (Foxes in Fiction) and Julian Fader (Ava Luna, Gravesend Accounts), Reo's solitary vision became enlightened by augmentations of live drums, guitar, bass, piano, synth, harp, theremin, and sax.

http://musicalbumshub.xyz/2019/04/06/new-album-emily-reo-only-you-can-see-it/

Tracks Listing:

1 Phosphenes
2 Ghosting
3 Candy
4 Fleur
5 Counterspell
6 Strawberry
7 Balloon
8 Sundowning
9 Charlie
10 In Theaters

Emily Reo envisioned a progression of people, alone in cinemas, watching their lives unfurl on the screens. "Nobody else could perceive what they saw, or translate things similarly," she clarifies, pondering to a great extent the idea of discernment and her tune "In Theaters," the dazzling, last track on her inevitable full-length. "Picture where you've been/no one but you can see it," she self-fits, later inferring that "our lives play in void theaters."

"No one but You Can See It" is a devastatingly delightful gathering of kaleidoscopic pop melodies figuring with the multifaceted nature of presence of mind. Following the arrival of her acclaimed 2013 full-length "Olive Juice," Reo went through five years composing, recording, masterminding, creating and blending these ten melodies—at her condo in Brooklyn, and at different studios and companions' homes around New York. It's her most mind boggling web of verse yet, with prismacolor tunes twisting through an immense pop vision. Reo utilizes her established vocal preparing like never before, her broad falsetto conveying doubletime refrains overflowing in allegory and entrancing layered soundscapes alike.

For over 10 years, Reo's vocoder pop melodies have played with the space among normal and metallic sounds—with each turn of her voice sounding clearing, symphonic. Recording and visiting freely since the arrival of 2009's "Minha Gatinha," she's constantly discharged a moderate dribble of pop analyses through craftsman worked engraves. On her 2016 single "Spell," Reo thought about all-expending uneasiness, deadness and seclusion; here, all through her most recent collection, with substituting elegance and liveliness, she maps out a star grouping of lived encounters that took her back to feeling herself—confronting misfortune, catastrophe, and demise, yet in addition battling for her wellbeing and freedom.

Reo's tunes have dependably been innovative, and here she considers the space among creative ability and truth with an elevated feeling of strain that appears to have been rising under the surface for a lifetime. There are self-combusting taking off synth riffs, meager condition and after that inundating bedlam. Songs that spread out into tunes (some of which went to her in dreams). On "Treat", she proceeds with her investigation into the counterfeit versus the natural, a tune about carefully encouraged connections; through robot sounds, she ponders about the disarray of inclination near somebody through a screen, sung from the point of view of somebody beginning to look all starry eyed at a machine.

"Inflatable" is the record's most persistently unfurling small scale epic, one overflowing with the gigantic vitality of an extending heart; a tribute to instinct and development. It's a melody that inevitably drifts upward as Reo's vocals befuddle like a sleep inducing choir-of-one, mulling over exploring numerous connections, and the need of confidence as an essential for them.

"Ghosting" is her most close to home tune to date - as she sings about following her tension and balance, her words are more clear than expected, similar to a voice that has been longing to get away. "It diagrams my involvement with psychological sickness - sorrow, uneasiness, OCD - and how it made me unfit to live despite the fact that I was alive," Reo says. "It's tied in with inclination caught inside your psyche, not carrying on with your life, not knowing whether you're truly living, if this is the thing that your life adds up to." So regularly, the encounters, tensions and diseases that characterize us aren't unmistakable to any other individual; no one but you can see it. Afterward, "Counterspell" is tied in with beating the ailment she spread out on "Spell", utilizing the last track's repurposed vocals to demonstrate "how anything can be turned around."

Interestingly, the light side B opener "Strawberry" feels even more dominant, a women's activist banger about ordinary loftiness under the look of male centric society, about exploring delicate male personalities in music scenes and past: "Wish you had earned that PHD! In R-E-S-P-E-C-T! What number of young ladies in this city are getting T-I-R-E-D?" she belts out. Against the background of "Ghosting" and "Counterspell," it feels like a triumph—the rush of hearing a craftsman making her mark voice. "No one but You Can See It" praises what can be the most moving sight to see: to genuinely perceive yourself.

All through the collection, Reo keeps on investigating such duality; regardless of the young richness of her hooky synth lines, sparkling console tunes and taking off harmonies, Reo's head space while recording was definitely not lighthearted. In an announcement about champion single "Ghosting," she shared it "was composed amid when I felt totally debilitated by my very own psyche — my battles with psychological maladjustment had achieved an unsurpassed high, which brought about me being too hesitant to even think about doing anything. I pretty much caught myself inside the manufactured security of my room and quit carrying on with my life."

What's more, what happens when she does choose to rise into the world? "Once in a while it feels like I'm swimming with sharks/Simply perusing books without anyone else's input in the recreation center," she sings on the overflowing "Strawberry." The inescapable inclination of misogyny she encounters in every day communication is a similar uneasiness that leads numerous ladies to secure themselves with a cloak of separation. On the track's anthemic melody, Reo strips back the layers with lavish vitality: "What do you merit from me? N-O-T-H-I-N-G/Wish you had earned that Ph.D. in R-E-S-P-E-C-T/I don't owe you anything!"

For as far back as decade, Reo's sound has constantly advanced, from the rambling lo-fi clamor fly of 2009's Minha Gatinha to her first explores different avenues regarding circling synthesizers on 2013's Olive Juice. No one but You Can See It is a jump forward from both; her vision has honed, thus have her generation capacities — the collection was in part recorded with Julian Fader and Carlos Hernandez at Gravesend Accounts in Brooklyn, quite the home of late discharges from Frankie Universe and Sam Evian.