Neckdeep ”I’m here to stay” sings Charlotte Sands on the title track of Satellite, her sophomore effort released today via her own imprint of CS Records. Charlotte Sands expands upon the world she created on her equally-thrilling debut, Can We Start Over?, and leans into a synth-heavy sound similar to artists like PVRIS and Metric with great results. The LP is filled with club-ready anthems of self-empowerment that accentuate the sound Charlotte Sands has crafted since she first stormed onto the scene five years ago. You’d be hard-pressed to find a harder working artist than what is presented here, and Satellite proves that her statement of “I’m here to stay” should be taken seriously.
The set opens with the vibrant title track that finds Charlotte Sands singing vulnerably over a synth-laden beat and it slow-builds to a picturesque chorus of, “And I’m scared of heights / But I won’t come down / I’m lost in your orbit / But I don’t want out / I’m yours in the day / And the dead of night / I wanna be your satellite.” The song is about finding that person who makes you want to spend all of your days and nights with, and completes your outlook on life. “One Eye Open” follows the great start to the LP with a haunting song about trust issues that laments in the pre-chorus of, “Let’s pretend / We don’t know how this ends / We could leave it for dead / But you’re so persistent.” Her command for tracks like this only further solidifies the star power that comes through the speakers in Charlotte Sands’ delivery.
”HUSH” was the first taste of the new direction Charlotte Sands took on Satellite, and features several wavy in-and-out synths to make for a club anthem similar to Charli XCX’s Brat. The second verse of, “You’re losing me and my patience / The way you’re giving me an ultimatum / Keep obsessing and asking all these questions / I think I’d rather play dumb,” paints the picture of a person losing their patience with someone who may not be around long enough to see the relationship improve. “Half Alive” leans into a sound similar to the vibes put out by PVRIS on her Evergreen record, but Charlotte Sands’ addition of heavy guitars in the chorus makes it stand on its own two legs. The vulnerable second verse of, “Shut me up / Cover my mouth til I choke on my words / I can’t help but self destruct / I’m living and dying / I don’t know what’s worse,” is a relatable feeling when it feels like our world is spiraling out of control with no clear end in sight.
”Afterlife” finds Charlotte Sands thinking about her own mortality as she croons, “And we don’t make it out alive / Promise that you’ll find me / Somewhere, somewhere / In the afterlife.” She later sings in a rhythmically way, similar to a rap, in the verses about her past as she invites the listener in about her upbringing. “I’ve always had my doubts but now I’m used to it / Cause everything I love has always gone to shit / I’m scared of ending up just like my parents did / But what can I expect when I’m my parent’s kid?” she ponders over a steady beat that continues to add in interesting musical elements. It’s songs like these that further showcase her improvements as a songwriter, regardless of which genre she tackles.
”Back To You” is a powerful anthem that is largely built around the guitar, and the variety of the instrument choice does a nice job of rounding out the full approach to her music on her sophomore record. I found the lyrics of, “I wish that I was someone I could lean on / I’m cheating on myself, respect / It’s treason,” to be particularly powerful and insightful into Charlotte Sands’ state of mind as she later sings, vulnerably about bringing herself back to the person she wants to be with.
”Neckdeep” is one of my favorite songs to be released this year, and it features some revved-up synths to bring emphasis to each of her lyrics. Charlotte Sands begins to question a relationship in the chorus of, “You make it look so hard to want me / Why would you tell me that you’re neck deep / When you’re really one foot out? / Look at the damage that you cause me / Why would you build me up and let me love you / Just to let me down?” It’s apparent that she’s hurting, and it makes you want to comfort Charlotte in her self-recovery. “Water Me Down” is a rare ballad in the set that features some whispery vocals in the verses similar to Billie Eilish, while the chorus finds Charlotte Sands belting out her lyrics to bring a nice contrast between the verses.
”None of My Business” rocks along with urgency, and it comes the closest to the style of PVRIS than anything else on this set. The steady guitar riffing paired with dark synths makes for a great landscape for Charlotte Sands to share her prickly lyrics about someone who talks too much. Lyrics like, “If all the effort you put in to talking shit / Could be a job / You’d get overtime like all the time / You’re always on the clock,” are straight to the point, and hit their intended target. The album closer of “Sunday” is a shimmering ballad about cutting through all the prior bullshit, and finding that one person who brings out the best parts of yourself. The chorus of, “I really like myself when I’m with you, it’s true / I never even have to think it through / They say you know when you know it, know it, know it / I knew it right away / They say you know when you know it, know it, know it / And you make me feel the same / As Sunday,” ends Satellite on a positive note, and shows that through Charlotte Sands’ experiment of self-discovery, she ends up with the best version of herself in the end. A satellite is meant to hover in orbit and keep an eye on the world below, and Charlotte Sands ascension into the heavens of notoriety comes closer than ever to fruition on her excellent second record.