There's a bit of irony in the fact that such a packed album is titled 'Silence Is Loud', but the amazing feat of Near Archives' debut somehow never feels too much or choppy. I can't feel it. Despite all the references and sonic variations, this is still a consistent project that is typical of her. She draws from a decidedly broader palette of genres, incorporating British indie as well as R&B and dancehall, cementing her place as a pioneer of a new generation of junglists more than ever. It is not. “Forbidden Feelingz” and “Out Of Options” are reminiscent of ragga and lovers rock, respectively. On “Cards on the Table,” she takes a cue from Lily Allen's pithy diction (“Your eyes are blue/My eyes are hazel-brown/People who look like you.” “I don't think my cards are on the table'' is a bar where you can easily sit down to the '00s icon “Alright, Still''). And the lilting synthesizers of closer 'So Tell Me' have a nostalgic hopefulness reminiscent of Britpop at its most wistful.
While Nia leans into her rave roots in some of her club-oriented productions (“Unfinished Business” and “Tell Me What It's Like”), it's also a testament to the strength of her talents as a multi-hyphenated singer. I'm just cutting it down. And vulnerable lyricists and beatmakers and producers are also given space to truly shine. Her title song and its reprise are a perfect example. The former is a frenetic mix of propulsive drums, whirring electronics, and reverb-heavy vocals, while the latter's arrangement is completely drumless and unlike anything you've heard before. It is sparse and defenseless. Nia, her soulful vocals cut through the noise around her (quite literally).