Covers, Vol. 4

Cover albums are often the ultimate litmus test for an artist's identity. It is easy to hide behind the pedigree of an established hit, but it takes significant guts to strip a well-known melody down to its bones and reconstruct it using a completely different musical vocabulary. On 'Covers, Vol. 4', Lauren Babic avoids the trap of 'karaoke' metal, instead opting for a high-impact transformation of contemporary and classic sounds. The result is a lean, aggressive collection that prioritises atmosphere and grit over literal imitation.

Babic operates in that interesting grey area where metalcore meets polished rock production. Her voice is a vital tool here; it carries a distinctive rasp that cuts through the heavy instrumentation without sounding forced. By the time we hit "Ocean Floor / This Is The Time (Ballast)", it's clear she isn't looking for a safe entry point. She wants to evoke the heaviness of the source material while injecting her own aesthetic of jagged edges and soaring, melodic hooks. It is a deliberate choice that keeps the listener engaged rather than just nodding along to familiar refrains.

Babic doesn't just cover these tracks; she dismantles them and rebuilds them into something visceral and uniquely her own.

One of the strongest moments on the record is "Going Under." While the original had its own cult status, Babic's interpretation leans into the darker, more crushing elements of the genre. The transition into "Redneck" shows a willingness to experiment with tempo and texture, proving she isn't just interested in heavy for the sake of heavy, but in the emotional weight of the delivery. These tracks function as showcases for her ability to command a mix that feels massive yet controlled.

As the album progresses toward "If I'm James Dean, You're Audrey Hepburn," the production highlights the nuances of her performance. There is a certain cinematic quality to the arrangements; she manages to preserve the 'vibe' of the originals while swerving the sonic trajectory. It isn't a detour, but a deliberate redirection. She identifies what makes a song work—the core emotional pivot—and hammers it home with a heavier, more defiant fist.

However, a cover album of this length risks hitting a plateau of familiarity. "Papercut" and "Erase Me" are stellar moments of vocal prowess, but they lean more heavily into the established 'Babic sound'—a polished, modern metalcore sheen that might feel a bit safe for those seeking total subversion. Still, the consistency is undeniable. She provides a high-octane experience that respects the source material enough to keep it recognizable, but loves her own style enough to let it take centre stage.

"My Curse" and "Easier To Run" serve as the backbone of the album's momentum. They move with a relentless energy, ensuring the listener doesn't have time to over-analyse the 'authenticity' of the cover. It is about the impact of the moment. When the heavier riffs land, they land with genuine weight, and when the melodies swell, they feel earned. It's these moments of high-impact execution that keep the record moving forward despite the inherent challenges of a compilation format.

Closing out with "Have Faith In Me" and "Wonderful Life," Babic rounds off the collection with a sense of finality. The transition into the final stretch feels less like a list of songs and more like a curated journey through different shades of heavy. It is a professional, polished, and ultimately rewarding listen. While it might not reinvent the wheel of the cover album, it showcases Babic as a formidable artist capable of handling heavy hitters with grace and grit.

Ultimately, 'Covers, Vol. 4' earns its keeps by being an exercise in stylistic confidence. Babic isn't asking for permission to reinterpret these hits; she simply takes them, crushes them into her own machine, and lets them out as something formidable. It is a solid, heavy-hitting addition to her discography that highlights her technical skill and stylistic conviction.