One of the great things about not having neighbours at the moment is that there is nobody to complain when I turn up the volume – and I do! Headphones are great, but sometimes we naturally listen best when we just turn it up and see what happens.
Press Release:
ROREY is a Manhattan-born, bi-coastal artist raised between New York and Los Angeles. She picked up a guitar at six, wrote her first song by ten, and taught herself piano. She writes and co-produces everything she releases, pairing instinctive musicianship with lyrics that hit a nerve.
After leaving The New School in 2019 to pursue music full-time, ROREY returned to Los Angeles and released her debut single, Predictable, in 2021. Since then, she’s built a reputation for brutally honest songwriting, hypnotic hooks, and a genre-bending sound.
ROREY writes the things most people are afraid to say out loud. Her music invites listeners into the parts of themselves they’d rather avoid—and leaves them feeling less alone.
Her upcoming full length album I Get It Now is her most exposing yet. A devastating look into realizing love is not enough to make someone stay without abandoning herself. The album documents the layers of heartbreak as she navigates a relentless cycle of miscommunication. She says “Some things are only meant to be experienced once, once in a lifetime. And love without choice is empty.”
Her music has been championed by Apple Music’s The Zane Lowe Show and featured on playlists including New Music Daily, Fresh Finds, Fresh Finds Indie, and New in Pop, alongside major editorial support across Japan. She’s also been featured by CLASH, LADYGUNN, OFFICE, and more.
ROREY isn’t interested in making you comfortable. She makes music that drags the subconscious into the light—and makes you want to stay there.
My Review:
“I Get It Now,” is released on August 14, 2026. By the time you read this, it will be available across all the main platforms for your listening pleasure.
“Binary Thinking” is perfect for dusk falling and a post-eclipse evening. The melody rolls like mist on a river, hanging low and enticing you forward. “What the hell were you thinking?” ROREY asks, and there is a darkness in the mist. Musically, there is a sense of techno-pop here: modern, drifting and slightly unsettling.
“Understated” – “Your love is understated,” says ROREY. Vocally, she delivers the lines with real emotion and I feel the connection with the lyrics. The more layered chorus and the upbeat music that never quite dances add further layers to the piece.
“I’m Sure” slips easily into the early part of the album. It has a very late-night feel to it, the sort of track commercial radio plays after 11pm. Again, the vocals connect emotively with the lyrics, while the instrumental part slips neatly underneath like a measured outfit.
“Dying Fire” opens with a different feel. It is more of a ballad, with the lyrics almost spoken in parts. The music is more atmospheric and ethereal, with a folk influence playing on the emotion of the song.
“Quiet Love” (2am voice note) sees the acoustic guitar and stripped-back feeling come to the fore. It has that “you and me in a room by the fire” feeling – more winter than summer – and the guitar is allowed to lead here. Where the vocals are often to the fore elsewhere on the album, here the guitar takes the foreground. It plays out with that sense of the needle reaching the end of a vinyl record.
“7.18.25” has a lovely chorus, beautifully delivered. There is a very simple drum beat underpinning the track, an intimate number that feels like a reflection. It would go well with an evening glass of red wine in the garden. It needs a few crows to gather and appreciate the moment.
“Sudden Death” has a certain cinematic quality to it, slightly futuristic and spacey. I felt this track came and went for me. I was ready to move along to the next track. There is nothing wrong with it, but it didn’t do much for me.
“Temporary Tragedy” brings us towards the run-in to the end of the album. This one talks about how we become the things we hate. The vocals include a repeating sound that I can’t quite type out here, and it has a hypnotic quality about it. You lean into the song, only for it to suddenly end.
“Quiet Love” returns to where ROREY scores for me. She is great at these more stripped-back numbers, with the intimacy and gentle swaying that you sense as you listen. I felt gathered around the artist, having a listen and reaching for my cup of tea.
“Give Me A Reason” sees a strong vocal performance, a little more poppy and a bit more commercial radio. My cat also settled down to have a listen to this one, so that was unexpected. The chorus has a strong backbeat that works particularly well.
“I Get It Now” is disturbing. It feels like a phone conversation, a collapse of confidence over love and that familiar “you need to move on” response that people give. The music is there like a heartbeat, slightly dystopian, while the spoken montage adds to the sense that we are listening to something deeply personal.
“Don’t Look for Me” (demo) closes the album with a working version of an interesting track. It feels appropriately unfinished, almost as though we have been allowed to stay in the room for a little longer after everything else has finished.
I Get It Now is an album that moves between the intimate and the atmospheric. ROREY seems particularly comfortable when she strips everything back and lets the voice, guitar and emotion carry the weight, although there are enough electronic and pop influences here to keep the album moving.
There are moments where the album completely draws you in, and others where I found myself waiting for the next track. But perhaps that is part of its character: this isn’t an album designed simply to sit politely in the background. It asks you to listen, and sometimes it asks you to listen quite closely.
For me, ROREY is at her best when the volume drops, the room gets quiet and the songs feel as though they have been left there specifically for you. And occasionally, of course, the answer is to turn the volume right up and see what happens.
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You can stream music by ROREY here
By Anna-Louise Burgess
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