If you search KAYANA on Spotify, her bio is short and sweet with three key takeaways: Boston native, “ethereal vocals,” and “escapist beats.” It may be simple, but it cuts at the heart of who the R&B singer is and the music she makes. The two dreamy singles she’s put out in the past, are the perfect prelude to her latest EP big tree little forest, where she takes those soft melodies and builds on them for an introspective journey. In four intimate tracks, KAYANA’s voice effortlessly slides and riffs blending soulful sounds with bits of an alternative edge.
The dynamic track “ALL IN TIME!” dives us into synthy chords and a mid-tempo beat. However, the song title’s punctuation should surely be a question mark instead as KAYANA seems to ponder the status of a relationship. There’s a yearning there as she croons, “Is it all in time? / When will you be mine?” Almost as if she’s been left in limbo, she condemns this person for stringing her along, but later asks, “Will you ride for me?” These lyrics feel instantly relatable to when you’re pursuing someone—how the very act can make you feel at a standstill, in an endless time warp waiting to know if they actually want you, or when they’ll prove that they do. The phrase “all in time” signals that what you most desire will happen at just the right moment—for KAYANA, at least, that seems like hope. Towards the song’s middle, stacked breathy back vocals come in with that same question: “Is it all in time?” Coupled with her voice at the forefront, the question becomes persistent, morphing into a plea. Hypnotic in its repetition; almost trance-like. While “ALL IN TIME!” thematically sets the stage for the rest of big tree lil forest, sonically it is easily a standout. It’s not fast-paced, but there’s a driving, rhythmic feel that doesn’t feel similar to any other track.
On “R3V3RS3!” we’re treated to a headier composition that opens with ambient vocalizations from KAYANA dotted along bright chimes that ding in the background. Yet, when she sings, “What do you do / When you lose your sense of self?” her husky tone changes to something fueled with more tension and angst. It’s as if someone had taken each instrument and submerged them underwater one by one. We sink beneath the surface as KAYANA’s next words come in: “reaching out for help / but no one answers.” And that’s exactly what the music mirrors. It feels like we’re drowning, searching for someone to save us. Right when we’re totally sunk, the song breaks wide open with a flurry of drums, like a storm that has reached its peak. Her voice continues like cloud-like adornments floating gently over a new, raging beat. While not quite head-banging status, the drum syncopation is some serious heat, and before you know it you’re moving to the groove. Oh, and if you listen for it, as the song ends, a distortion happens on the ‘reverse’ lyrics. The effect makes it sound like the words are sung backward—mimicking the function of something literally going in reverse. A nice closing touch.
From there we flow into something more stripped back with “3SS3NC3!” When I listened to it for the first time, it made sense to see KAYANA as the sole name under the producer credits. Thus far, she’s already shared her vulnerabilities and insecurities, yet this song feels the most personal. The instrumentals don’t do too much allowing the intimate lyrics to do all the talking. It starts with a familiar methodic tempo and moody ambiance, as she soberly speaks, “Breathe and become yourself / Breathe when you need help / Call on yourself,” we enter a space of rebirth. No more searching or wallowing in the lost limbo of it all, but instead, KAYANA reclaims her identity. “Breathe and don’t force it down,” she implores. The mind can be a cage so maybe that’s why she wails, “You see my soul” over a melody akin to something from a 90s rock band, perhaps Nirvana or Sonic Youth. What I love about this track is that it feels like we’re reading directly from KAYANA’s diary like she’s opened up a new page, and this song is her list of affirmations. The first one she’s jotted down seems to be remember who she is.
The last track “SAY WHEN!” is probably the most traditional R&B sound of them all, the song intros with a boom-bap style beat and muted jazzy minor chords. It is also a bookend to “ALL IN TIME!” as it explores timing. In “ALL IN TIME!” KAYANA muses over when everything will come together in a relationship, but in “SAY WHEN!” it seems like she’s over that and is now asking them to decide when this should all end. Though I’m not entirely sure who her audience is, there’s no doubt that she’s unapologetic: “I know what I did / I said I’m sorry / You hatin’ on me / I meant that sorry/It don’t seem like enough.”
What I love about big tree lil forest is that it doesn’t boast. It doesn’t have to. With KAYANA’s vocal talents, she doesn’t have to do much to deliver a stunning sound. Tracks like “ALL IN TIME!” flaunt her range and agility, starting low at some points and then lilting to a falsetto all in one slide. This does add color to the music, although when it’s done on songs like “SAY WHEN!” it can be tricky to hear every word. Some parts of the phrases come through, while the latter half sounds muddled. Where the project lacks in this area, it makes up for in bold instrumentation. The songs’ textures and sounds aren’t necessarily groundbreaking, but the drowned-out quality makes them unique. KAYANA is correct because her music is an escape. When I listen, I’m reminded of songs that feel especially fitting for a long night drive. Like its namesake, what makes big tree little forest catch your ear is its ability to sound big and small at the same time.
