Mackenzie Scott, better known to audiences by her musical pseudonym, Torres, knows how to set a mood. On her sophomore album, Sprinter, the Georgia-raised, now Brooklyn-based singer-songwriter masterfully intertwines husky and haunting with her melodies and vocals, setting a dark, introspective tone. At age twenty-four, it is hard to believe someone could be so raw and insightful. With the help of co-producer and drummer Rob Ellis and Bassist Ian Olliver, both known for their work with PJ Harvey, along with Adrian Utley of Portishead on guitar, Torres and her seasoned team provide a mostly grungy Indie-Rock sound sprinkled with softer, more delicate moments.
Releasing Sprinter back in May of 2015 via Partisan Records, Torres offers nine unique, moody tracks. Her lyrical topics span from her singing about various relationships, ranging from her struggle and experience with the Baptist faith she grew up in, to the dynamics of family. On “Strange Hellos,” she opens with sleepy vocals over staccato guitar chords, but the song quickly slaps the listener in the face as it gradually intensifies with Torres’ voice becoming unapologetic and raging as she sings of a love/hate relationship.
The track “New Skin” finds Torres exploring the theme of transformation and the insecurity that accompanies the transition into adulthood. She confesses to knowing pain and darkness as she sings, “The darkness fears what darkness knows, but if you’ve never known the darkness, then you’re the one who fears the most.” At times there is a distorted, trippy quality to Torres’ music. A prime example is on “Son, You Are No Island” where she creates an eerie atmosphere with a hymnal chant-like sound that has an ominous effect. The song elicits a feeling of foreboding as she sings of betrayal.
Yet, the mood is not always dismal on Sprinter. There is an ethereal element associated with “A Proper Polish Welcome,” which seems to mix mythology and religious imagery. It is poignant storytelling that transports the listener with the enchantment of delicate, sometimes feathery and at other times gruff vocals. Torres often explores feelings of fear and despair, but also alludes to light at the end of the tunnel. There is an implication of hope in title track, “Sprinter,” as she reflects on her church upbringing and her desire to break away. She sings, “There’s freedom to and freedom from, and freedom to run from everyone.”
Taking a more playful turn, “Cowboy Guilt” is a departure from the more somber tones on Sprinter. The song is quirky, integrating electronic touches and giving off a futuristic vibe. It allows the listener a moment to take a breath and bounce along with the beat. The light strumming of a guitar leads “Ferris Wheel,” a track that slowly tells of heartache, and echoes as Torres sings about unreciprocated feelings. Her sadness is almost tangible as she laments, “My friends just laugh and roll their eyes, When I tell them I don’t mind the way it feels, To ride an empty Ferris wheel.”
The album then closes with the heart-wrenching, intimate, and over seven-minute long track, “The Exchange.” Here, Torres is raw and emotional as she tells the story of an adoptive parent. There is pain and sorrow in her voice as it trembles and sounds like a tortured plea singing, “Mother, father / I’m underwater.”
Sprinter masterfully showcases the strength of Torres as a singer-songwriter, focusing on her lyrics and her voice. She sings with conviction and purpose, using grit and softness to beautifully execute the emotions she wants to convey. She is often poetic and symbolic rather than straightforward in her narrative, but always connecting emotionally with the listener. Nonetheless, a worthy addition to any Alternative Rock fan’s collection looking for something new. CrypticRock gives Sprinter 4 out of 5 stars.
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