Composer, musician, and singer—a triple threat. Not many artists can reach this achievement, but the ones that do manage to astound every listener. 

Emma Bieniewicz is one of the few examples of the epitome of an artist. With vocals to die for and the ability to play multiple instruments, she is a new force to be reckoned with.

The up-and-coming independent pop singer released her first song, “Lavender Hue,” in June of 2018. 

“Lavender Hue” is short and sweet; it sets itself apart from the music industry with length, but not depth. 

When I first turned on the song, I put it on a loop. I merely wanted a good idea of what it sounded like, but I quickly found myself listening to the soft melody countless times. 

All of the stress caused by the upcoming exams simply dissolved each time the song started. 

“Lavender Hue” is one of those tunes that are perfect for listening to while studying. Unlike most songs, “Lavender Hue” draws the music out in front of the lyrics. 

The core focus does not rely on the words being said, rather it zones in on the emotion of the music. However, the words add more emphasis to the song. The light finish of the harmony mimics the lyrics sang gently over it. 

With the prodigious success of her first single, Bieniewicz knew she could not stop there.  She released “Someone Crimson” only a few short months later. 

The mechanics of “Someone Crimson” are the complete opposite of “Lavender Hue.” The lyrics receive their chance to rise to the top of the song and overpower the music by an extensive amount. 

Her vibrato remains controlled throughout the entirety of the song, to the point where it almost seems as if it was played by the soft instrumental noise hidden in the background. 

“Letdown” gives Bieniewicz the opportunity to show off a new set of skills. The song begins in a completely diverse range than the other works she has released. The tune of the melody was immediately trapped inside the borders of my brain, but I did not feel the need to let it out. 

The ending of the song, however, seemed abrupt. Each one of Bieniewicz’s songs follows the pattern of a light decrescendo at the end of the masterpiece. 

Nonetheless, just when I thought Bieniewicz could not top herself, she released “Lights Like You.” The song seems to attain that perfect equilibrium. The music does not overpower the lyrics nor do the lyrics overpower the music. 

The tempo and key of the song reach out of Bieniewicz’s original comfort zone of the enchanting melodies. 

Bieniewicz’s most recent song, however, set new boundaries for her music career. “Foamy” is the most upbeat and uptempo song she is yet to create. It seems to be the icing on the cake.

Each song Bieniewicz has created so far seems to showcase only a limited number of her talents. “Foamy” has taken each of those talents and provided the proper voice for them. 

The song holds a new meaning in her music. The first songs by Bieniewicz have a different mood than “Foamy,” so the change adds a layer to the artist and makes her music more relatable.

Bieniewicz is the green grass hidden beneath the sparkling snow; she has ventured into an idea of sounds that not many artists choose to travel to, yet she has succeeded in every aspect of it.