Xana gets reflective on The Sex Was Good Until It Wasn’t

Among the sexy pop-rock bangers and touching self-reflection there are undeniably strong threads of hurt and blame coursing their way through TSWGUIW, detailing how she’s been badly treated and has responded in kind. Tackling submission and dominance, along with hedonism, lust, and fallout. The sultry “Better Kind of Best Friend” confidently struts along, “Damn / I could a be a better kind of best friend / With my hand down her waistband / Baby, I’m a fan / I don’t die for my women anymore.” There's an upfront swagger that belies her ‘real’ feelings, “Can’t stay away from each other / Don’t have the power / You know I’m a sucker / Watch as I swallow my pride / Along with you tonight.”

“Homewrecking Era” covers that same ground, but there’s also a self-awareness, or hindsight that knows how unsatisfactory it is in the end. With explosive drums and hard riffs Xana sings, “Yeah, I could keep all of your secrets / Cross my heart and hope I mean it / Baby, think of all the damage I could do,” before twisting the very last line to, “Look at all the damage that I do.” Sounding vocally similar to Sophie Ellis-Bextor on “Monster” Xana propels herself through comparisons with an ex, or exes, facing the denial of any wrongdoing while judging others. The self-righteous tone isn’t lost on her either.

TSWGUIW is an album full of jealousies, repentance, makeup, and break-ups. If there’s any criticism to level at the songs it’s probably the fact that they’re covering very similar ground in terms of content most of the time. “Sick Joke”, “Feral” and ”Body” deal with betrayal, learning lessons then reverting to type whether it’s Xana or another protagonist. Pruning the album of a few tracks wouldn’t have lessened the message although “Body” is also a blast of fuming energy that adds some much-needed kick to the album’s second half

“Lavender Daughter” widens things out on the relationship front as an ode to living up to expectations, being something you’re not to please others, and just succumbing to the best resolution you can in the aftermath, this song and the auto-tune drenched “earth eyes” are companion pieces in their search for validation and love. These two songs are also the closest the album comes to slower ballads although there are softer parts elsewhere “Alibi” and the closing song “January” are both more considerate, taking responsibility, and come over as more mature in their sound and lyrics.

The conclusion The Sex Was Good Until It Wasn’t aims to show is Xana baring her soul so unflinchingly as a means to an end. She can move on and move forward. We’re all reflected in these same cycles. We can relate to her lyrics, as complex creatures with many failings and redeeming traits. We would also hope to come out the other side as more rounded, better people, not just for ourselves but for those sharing our lives.