‘Suspended” sounds like the stages of surrender and defies the TikTok and Instagram-ification of music. Clocking in at just under 7 minutes, the 4-part concept song is more akin to a mini opera than a pop song you’d hear on the radio. “I think people are bored of the same 3 minute verse, chorus, verse, chorus, breakdown, chorus structure, so why not turn the formula on its head?”

The luscious, dreamy intro section, ‘Levitated,’ acts as the overture of Tanners’ Popera. The spacious, ethereal soundscape then transitions into the aria, ‘Suspended,’ in which she laments, “Checking up on my tendencies to be so controlling, but lately I’m floating,” describing the feeling of relinquishing control while stuck in the in-between. The chordal composition adds to this idea of being suspended in space as the composition shifts between major and minor keys. “It lives in a chordal no man’s land, if you will.”

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The Tennessee-turned-New Yorker draws from psychedelic, otherworldly sounds and big pop hooks to create her own blend of electro-pop, sitting somewhere between Rina Sawayama and Tame Impala. Her new self-produced release, ‘Milk Money’, has been in the making since 2017 and it’s well worth the wait.

‘Milk Money’ opens with airy, plush synths and ethereal voices asking over and over, “Do you feel it?”. “The night before writing the song, I was walking home with headphones on and could sense someone was following me,” Tanner says. “It’s not a rare occasion to say the least, but the fact that I couldn’t simply walk home listening to music without looking over my shoulder just made me really angry that day.”

Setting the tone with the opening lyric, Tanners sings “shadows they follow me home, do you feel it?” “I wanted to capture the feeling of being preyed on while also knowing how much power I hold inside of me,” she continues. “They’re two very intense, very opposite feelings and it’s tough to hold such contradicting truths at the same time. It’s one of the burdens of being a woman and/or a queer person – whether we’re consious of it or not, we have to adapt and present ourselves in a way that ‘fits’ any given situation to ensure no one feels uncomfortable or challenged for the sake of self preservation.”

Tanners offers up in the chorus, “I’ll make you a man, honey, if you need that. If you need that, I can be your detox. I can be your relapse.” She concludes: “At this point in my life, I’ve realized I can’t constantly shift and shrink who I am to fit the expectations of others. So, if you need to see me as your ‘detox’ or your ‘relapse’ in order to feel like a man, go ahead because I honestly don’t care. I’m so much more than that. I’m a multitude of everything all at once and how you perceive me is really none of my business.”

Using the interludes of Tame Impala’s Currents, ‘Nangs’ and ‘Gossip’ as sonic blueprints, Tanners has sculpted a lush soundscape that pulls you into the stratosphere. Combined with effortless melodies, subtle yet driving guitars, and a blooming chorus reminiscent of Fleetwood Mac’s ‘Everywhere’, Tanners has painted a sonic sunset, flanked by clouds of misty vocal reverbs that seem to go for miles. “If you listen with your eyes closed, I want you to feel like you’re riding shotgun in a convertible just as the sun is setting.”

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