Lana Crow is a British singer-songwriter who was born in Kazakhstan and classically trained on piano from early childhood. She’s written about significant health challenges and a turbulent upbringing, plus a long break from music before getting back into writing after moving to the Spanish countryside. In Spirit is her third album, a seven-track set that leans into indie pop and indie rock while letting the production shift around her voice.
Her vocal is the through-line. It has an indie-pop tint, sometimes shaky in a purposeful way, and she’ll slip into spoken delivery when the song needs more narrative bite. “I Do” sets that up with drums and guitar on an 80s groove, then lets her voice move between talking and singing, nostalgic when she opens it up. “Orwellian Times” starts with grit on the guitar and an atmospheric backing vocal layer, then settles into an indie rock, indie pop zone that feels familiar without sounding copied.
“No Secret (Remix)” pushes the album’s pop side. A four-on-the-floor kick drives it, the vocal stays front and clear, and a plucky synth melody trades places with the vocal, stepping forward when she drops out, then backing off when she returns. “So Done” goes for a more cinematic pop frame. The vocal starts in spoken mode, slight strings sit back in the haze, and there’s another heavily reverbed layer that could be guitar or strings. Midway, a synth arp shows up, then the snare lands and the track locks into a bigger stride without dropping the atmosphere.
“Unknow the ‘Known’ (the original)” is the rockiest cut here, heavier guitars and riffs with her signature vocal tone riding the top. Crow has said she chose the album version closest to her original demo, with a separate Tristan Boston version kept as a standalone single, and the album’s pick keeps the guitars punchy and direct. “What Brings You Back” slows things down and leans more synth-pop. The closing title track, “In Spirit,” caps the record, and the sequencing makes sense as a last word after the run of bigger hooks and darker cinematic turns.
Sync fit: indie drama scenes, night-driving montage, club or party edits for “No Secret (Remix),” tense modern-life cues for “Orwellian Times,” and trailer-friendly build moments for “So Done.”
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