“Before the Future” 2025 – album reviews
Rolling Stone – July 30, 2025, by Rob Sheffield
“Indie singer-songwriter explores grown-up problems on her fantastic fourth album … The pick-to-click is “Little Mr. Civility,” one of the wittiest and warmest parenthood songs you’ll hear this year. … All over Before the Future, she keeps trying to figure out her obsessive need to second-guess herself and over-analyze every move she makes — like she sings in “Bubble of Love,” “Why do I poke at things that aren’t broken?” That’s a fair question. But that’s the only way great songs like these get written.”
Gold Flake Paint – August 4, 2025, by Tom Johnson
“It’s a mesmerising piece of work, the opening song on her first album in a full nine years. What follows is suitably excellent – smart, sophisticated songwriting that feels suitably, equally compelling, sometimes just as hazy, occasionally a much more rough and ready approach to it all. … Starting the record this way feels like a bold move, a striking kind of spectacle that could have overwhelmed everything that follows, but maybe it’s impact is to simply bring you right into the heart of Schiffman’s world so that you won’t want to go anywhere else until the whole thing has drawn to a close. … And you shouldn’t, because this is wonderful. Dig in, dig in.”
Aquarium Drunkard – July 21, 2025, by Tyler Wilcox
“… Before the Future’s remarkable title track unspools like a bittersweet indie flick from the 1990s … with sweeping strings, Nilsson-esque backing vocals and steadily shifting sonic textures, it rewards repeat listening, all the better to appreciate its subtlety and nuance. “Before the Future” is also catchy as hell, which is nice, too. … Whether she’s writing about the joy and frustration of parenthood (“Little Mr. Civility”), the loss of a beloved dog (“Rudy’s Song”) or a hazy memory of a family trip (“Beach Vacation”), Schiffman moves forward with an expert balance of wit and pathos, recalling Ray Davies at his best. … Before the Future is that rare thing: an album that feels as satisfying and complete as a great short-story collection.”
UNCUT Magazine, August 2025, by John Lewis
“A triumph of dramatic storytelling”
“…the opening title track is more than nine minutes long, an episodic story song that in scale and structure nods to Bob Dylan’s ‘Brownsville Girl’ or even Taylor Swifts ‘All Too Well.’ …Lines of novelistic prose leap out from the mix like verbal grenades … Even the most word-blind listener will be hooked by the way she inserts stray plot details [..] and poetic colour [..] and adds dramatic twists without ever straying from the basic structure of a country-tinged pop song. … This triumph of dramatic storytelling is the first of eight deeply personal and arresting compositions on this album, alongside hymns to pets, meditations on parenthood and quietly rapturous love songs to fantasy lovers, which often feel like short stories. … Rudy’s Song’, produced by maverick singer-songwriter Sasami Ashworth, is a gentle, Wurlitzer-piano-assisted Laurel Canyon ballad that pays tribute to Schiffman’s deceased dog, but does it so poetically that she could be talking about a human. … Another Sasami production, the shuffling, swinging ‘Little Mr. Civility’, finds Schiffman agonising over contradictions of parenthood, overlaid with a tremendous multilayered performance from Joshua Crumbly, mixing shivery, minimalist bowed double bass with syncopated funk basslines. … ‘Bubble of Love’ takes us into krautrock territory, all motorik beats and proggy Moog solos; ‘Beach Vacation’, a piece of hypnotic summery punk-funk, is the narrator’s exploration of a childhood holiday … [The Mercenary] is a surprisingly hate-filled lyric set to a sunny-sounding piece of Scritti Politti-ish digital reggae … Even better is the haunting ‘Dear Gwennie’, which recalls one of Moe Tucker’s vocal slots on a Velvet Underground album … There’s a pleasing universality that comes from a world where the references are so personal and specific.”
NARC – July 2025
“A luminous, anachronistically light-hearted album. … Before The Future is simultaneously vague and direct … Schiffman’s songs are autobiographical and disarmingly candid, capturing the shifting colours, experiences and energy of young adulthood (and, more precisely, motherhood) reminiscent of the cool, whimsical mood of the anti-folk scene of the early 2000s (Jeffrey Lewis, Kimya Dawson, Adam Green) … It is a quietly addictive record, a family album, fascinating in its everydayness.”
Shindig! Magzine – #165
Whereas parenthood songs tend to be self-centred, on single “Little Mr. Civility” New York-born, LA-based singer-songwriter Rebecca Schiffman is busy pondering the knowledge we impart – and the knowledge we are supposed to impart. “Maybe it’s better not to know about property and saying please,” she suggests.
The New Cue
“’Little Mr Civility’ is a sweetly earnest but melody-rich meditation on raising a toddler from the LA-based singer-songwriter Rebecca Schiffman who sounds to have imported a thoughtful, necessary neurosis from her native New York”
The Daily Music Report – June 30, 2025
“Schiffman … infuses [The Mercenary] with digital mallet-style synths, shuffling percussion, and playful melodic flourishes that nod to Cupid & Psyche 85-era Scritti Politti. The result is a buoyant arrangement that offsets the darker themes of the book with levity and brightness.”
Flex Music Blog – June 13, 2025
“Lead single ‘Bubble of Love’ captures the emotional shift of a relationship with lyrical sharpness and melodic charm. Produced by Luke Temple, the track pulses with a motorik groove, buoyed by bright synth lines and live band energy tracked at Altamira Sound. Schiffman’s lyrics are both observational and intimate, drawing surreal beauty from romantic disillusionment: “When things go badly I can objectify you / Like an ancient Roman sculpture in my room. ‘Before The Future’ finds Schiffman at her most introspective and sonically adventurous, a poignant, shimmering addition to the West Coast indie canon.”
The Autumn Roses
“‘Bubble of Love‘ is the wiry, thoughtful and literate brand-new single from New York-born, L.A.-based musician Rebecca Schiffman.”
Radiotrails
“[Bubble of Love] cultivates a bright indie-pop atmosphere, dotted with candid vocals and a lively rhythm that energizes the track. While it has a nostalgic quality, its rawness gives it a timelessness that keeps it from being confined to any particular genre or era.”
For the Rabbits
“Rebecca’s ‘Bubble Of Love’ might have popped before it could ever bloom, yet her curiosity for the world outside it is clear, a songwriter who seems to really think about the world she inhabits and that open-minded intrigue goes a long way to explaining why Before The Future might just be one of the year’s most intriguing releases.”
Various Small Flames
“The record sees the LA-based songwriter grapple with what it means to live a moral life within a society that can appear hellbent on compromising our personal values. … No stone is left unturned across the songs, with everything from motherhood, grief, family vacations and the ethics of the pet-owner relationship explored. Latest single ‘Bubble of Love’ employs a peppy rhythm and sweet vocals to turn its attention to the familiar arc of romantic love.”
Older Reviews
April 23, 2019 – LA Record – Track Premiere: Rebecca Schiffman “Every Moment Lasts Forever”
November 26, 2018 – YesPlz – Issue 001 – Interviewed by Amy Marie Slocum
November 8, 2018 – Americana UK – Rebecca Schiffman “Song for a Writer” – Listen
“A song which is so harsh in its character assassination has no right sounding so damn upbeat and, oh, what can we say but “jolly” ? Rebecca Schiffman sings sweetly whilst pulling absolutely no punches “what are you using your life for ?” she lightly enquires, later noting that “it’s only you that can change you, but you’ll never try. That’s why you’re so tragic“. Ouch. Just imagine being berated by something so darn catchy. You’d never be able to stop humming it. Double ouch.”
September 17, 2018 – Aquarium Drunkard – Bandcamping: Fall 2018
July 12, 2018 – Doom & Gloom from the Tomb – Rebecca Schiffman “Song for a Writer” – by Tyler Wilcox
“Hey you! You’ve got two minutes to spare on this fine Bandcamp Monday, right? Sure you do — though fair warning: you’re probably going to want to listen to Rebecca Schiffman’s “Song for a Writer” more than once. Recorded in collaboration with ex-Girls guy John MF Anderson, it’s a mellotron-infused slice of pop perfection, equal parts buoyant and melancholic. Just right!”
June 28, 2018 – Guitar Girl Magazine – Rebecca Schiffman shares new single ‘Song for a Writer’
June 12, 2018 – BuzzBandsLA – “Ears Wide Open”
June 2, 2018 – Palo Alto Online – profile by Karla Kane
June 28, 2017 – KZSU – reviewed by DJ Telepathic Juan
“New Yorker Rebecca Schiffman’s self-titled third long play is produced by Money Mark. It’s a pleasant exercise in 21st century singer-songwriter quirkiness. Similar to Cate Le Bon, Schiffman has managed to construct a peculiar narrative built around elements of traditional folk music, observational comedy, and sophisticated pop music arrangements. I’m particularly a fan of the ridiculously ingenious lyrics. If we can break it into musical categories, the record is a mix of contemporary European baroque pop, 21st century American folk, and 1990s jazz-pop. Pop Neoyorkino con mucho sentido del humor.”
January 3, 2017 – Doom & Gloom from the Tomb – [Late Pass 2016] Rebecca Schiffman by Tyler Wilcox.
“Still going through some LPs I’d overlooked in ye olde mp3 shuffle in 2016! This record closes with an extremely good rendition of Robyn Hitchcock’s “I’m Only You” – but that is far from the only reason to check out Rebecca Schiffman’s self-titled LP. Produced by Money Mark (yes, that Money Mark) and featuring guest spots from Nels Cline and Max Bernstein (among others), it’s a collection of winning indie-folk centered around Schiffman’s singular vocal stylings and imaginative lyrics. Each tune is weird and wonderful, as the songwriter traverses landscapes both real and imagined (not unlike the aforementioned Mr. Hitchcock, come to think of it). The music itself is just right, both familiar and surprising all at once. Recommended!”
More Reviews of Upside Down Lacrimosa, Some Records, 2003
from Lost at Sea
by Sarah Iddings
Rebecca Schiffman’s debut had two biases working in full force before I even spun the CD. One, that I am unfairly biased against singer-songwriters, because most of the solo albums from people I don’t recognize warrant a lot of criticism (and it seems like any person with a guitar and two cents worth of recording time can and will make an album).The other is that after reading her biography, I developed a sugary and blushing girl-crush on Ms. Schiffman. It’s not like me to admit that readily, but after hearing her stance on music and her own undying creativity, I caved in. The Upside Down part of her chosen title refers to the fact that she often turns established sheet music on its head to hear how it would sound. Already, she strikes me as a person who sees with different eyes than most, and loves to relish in the creative. In full, she says that since “Lachrymose” means sad, then Upside Down Lacrimosa might just mean happy. It is in the spirit of playing with one’s own words, intentions, and emotions that my little crush was furthered along.Luckily for me, her music justifies my good feelings toward her. The album is resplendent and charming. Her influences are beautiful, from Classical music to The Softies, Shannon Wright, Bebel Gilberto and Lois, and bring forth a heartily-steeped, harmonious sound. She is, undoubtedly, a serious musician– and yet she maintains the sweet quality best characterized by her lilting voice, and shows a softened heart.
Keyboards, drums, and luscious strings swirl ambitiously, even when aptly pinned to Mozart’s “Lacrimosa”, which she recreates at the album’s center. For some, this attempt may result in the pretentious, but Ms. Schiffman manages to emote a labor of love. Tracks like “Long Ride Home” dote on her crystalline, twee side, relaxing amid buoyant harmonies; others such as “Pigeons and Igloos” focus on her form carefree faux-Brazilian jazz, meshing competence with touch-toed exuberance. Her proficiency as an instrumentalist is versed but never intimidating, and though her graceful voice is treasure enough, her ability to support it with technical expertise and tremendous creativity makes this album a true gift.As I have the ability to carry this portable memento along as I stride around the lake or enjoy the comfort of my patio, I can happily court Rebecca Schiffman. While this is unbeknownst to the artist, I’ll more than willingly adopt her as secret muse and companion. The world just looks a little prettier with her around.
from Venus Zine
by Anne Johnson
Upside Down Lacrimosa resulted when Rebecca Schiffman took the movement “Lacrimosa” from Mozart’s Requiem, read it backward, and recorded it on her Casio. The finished product then became the title track of her debut release. Since lacrimosa means sadness, Schiffman reckoned that upside down it could only mean happiness. Choosing happiness as the theme of this debut release does seem like an odd choice. All the same, for those who find bliss in a merciless analysis of modern life, it should all make sense.The music is extremely lo-tech in nature and based upon demos Schiffman had initially done at home. The subtle nuances, such as the quiet organ and subtle chord changes on the opening track, “Total Recall,” to the forlorn banjo on “Fireflies,” are well thought out and carefully adorn the initial sparse framework of the songs. Schiffman’s expressionless vocals, which owe a great debt to both Nico and Liz Phair, do grate after a while but serve well as a clever commentary.Schiffman’s biting observations reveal a maturity and world-weariness that belie her young age; perhaps that is the native New Yorker in her. (This could also explain why she believes “Sometimes Mother Nature is trying to kill you.”) She is right on well-deserving target a great deal of the time, as when she deadpans, “How difficult to maintain your space / When a rent-a-fridge company knows where you live.” Rebecca Schiffman keenly mocks, yet indulges, the paranoia and the absurdity that accompany the modern urban experience.
From Sponic Zine
by Dave Heaton
When Rebecca Schiffman sings, she sounds like she’s half-asleep. But that’s not a bad thing; the folk-pop songs that fill her debut album Upside Down Lacrimosa have the atmosphere or whatnot that makes you feel transported to some unreal place, like that line between being asleep and awake.
That feeling is conjured up through her somnambulistic singing voice, sure, but also via dreamy keyboards and other sonic touches. Her lyrics also often dive into that feeling that everything isn’t what it seems, often in poetic ways (concise poetry that carefully evokes without getting wrapped up in itself, always the best kind). The opening song, “Total Recall” is a gorgeous expression of the way you can get real life and images confused (“real emotions remind me of the movies”), while a song titled “The Weight of Your Sleep” makes that ‘waking life’ theme literal. There’s also the simply titled “Lullaby,” which gives the album a perfect last line: “Coral and seaflowers, sand dollar stars, laid out in your memory.” She’s singing about a grave, but that last phrase resonates in other ways as well…as a final thought on the way minds can create their own universes, and as one last echo of the way her songs have the power to really take you places.
from Harp Magazine
By Steve Klinge
Real emotions remind me of the movies. And real people remind me of photographs,” sings Rebecca Schiffman in “Total Recall.” Schiffman’s songs live at the edge of reality. In “Warning To A Talented Violinist,” she cautions, “Beware of doors and knives, their actions won’t be healed by time,” and in “The Weight Of Your Sleep,” she warns, “Your phantom replicas will see you when they want.” The songs on Upside Down Lacrimosa build on suggestion more than definition; even the arrangements-mostly lo-fi Casio keyboards and strummed acoustic guitars-leave lots of room for the imagination, and Schiffman’s flat, youthful vocals imply melodies as often as they carry them. Like Young Marble Giants or early Magnetic Fields, the less-is-more approach can be captivating (see the burbling “Penguins and Igloos”). But it can also be unfulfilling, and Upside Down Lacrimosa is a promising debut, but a promise not quite yet reality.
First printed in Dec 2003/Jan 2004
