Automatically, you are snatched into “Chair” at the jump. Not only with snappy high-gloss production -with conviction. Aleksandra spits and sings with one voice with equal power, switching between angry verses and catchy hooks that hurt in its clearness. The rhythm is slappy, it is in her delivery: vulnerable, in control.
That contrast represents even greater dichotomy: a voice shaped by hardship but trained in intentions. She does not want to patronize pain, she wants to do go to say, I was exposed to it, and I did not flee.
But what is even more striking is that the story of Aleksandra lies between individual healing and larger questions of identity and belonging. As the daughter of immigrants who grew up in a society that does not understand mental illness especially women who have complicated backgrounds she is not only speaking. Any trauma that is displacement, not belonging, may show its face in ways we do not realize until we crash. In some instances it requires an impact such as in her case to trigger healing.
Nothing is romanticized about that moment, but it is immortalized by definition of clarity in the aspect of what chair is about. It is crisp, commercially viable, has that much grit to it, that it does not sound too polished. This is neither trauma bait. It is transformation through process and process is discipline.
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Stay tuned—there’s plenty more great music on the way!
