Like other singles from the album, 'Miyazaki' and 'Pre - Raphaelite' especially, 'I Cry in Front of Paintings' combines Paloma's love of art, literature and hauntingly theatrical vocals to create an exceptional sound - a sound that, quite frankly, no one else has ever come close to emulating.
As one has also come to expect with Paloma's work, this single gives you a completely unique musical experience. This is not just a three-minute track that you listen to once and simply enjoy. Instead, 'I Cry in Front of Paintings' has the foundations of Rameau's Les Boréades, or any other Renaissance opera, for that matter, due to its melodramatic core. Yet, it is crafted and constructed like a 1970's rock reimagining of Swan Lake, thanks to its silky but angry lyrics and Paloma's precise vocal execution - which mirrors the precision of a prima ballerina's plea. However, the track is delivered (disguised) as a contemporary Indie record. Therefore, Paloma is not only a genre-blender but also a bender of form. She brings together multiple theatrical forms to create an alternative musical sound that tells the most sensational of stories.
'I Cry in Front of Paintings' centres around the fact that love does not define a person, as it often leaves you feeling incomplete. Thus, placing emphasis on the importance of self-realisation and healing through art, making the track tragically empowering. Lyrics such as: "Orpheus's turning head before he's finished the long walk / And I do not believe that he was fated to at all", transform ancient mythology to emphasise the choices we all have when it comes to love.
Paloma uses this single to reinforce the importance of accountability through her own reinventions of pre-existing historical art, which is truly impressive. In short, Paris Paloma has created pure magic yet again with a beautifully poetic, high-drama, Shakespearean-esque sonnet that has a modern Indie-Pop twist.
Bravo, thou hast played thy part well...
Cory Gourley
Image: 'I Cry in Front of Paintings' Official Single Cover