A few years ago, Victoria Walker, better known as singer and record producer PinkPantheress, was virtually unknown. 

The artist released glimmering snippets of songs on TikTok — short-lived choppy tracks that brimmed with potential but faded to a close less than a couple minutes after starting. 

Over two years later, in a whirlwind of glossy aesthetics, catchy pop melodies and inescapable TikTok trends, PinkPantheress rapidly climbed to success, gracefully emerging as the glittery princess of micropop. 

In her debut album “Heaven Knows,” PinkPantheress proves that she’s more than just shortlived TikTok fame. She explores a bigger sound, managing to create a skillfully executed, fully formed album that embraces the playful nature of the micropop genre that has garnered her immense fame, while cautiously moving onto something greater. 

The album starts out with “Another Life,” a song rich in production and cloaked with an alluring Gothic-sounding instrumentation; the harpsichord wholly evelops the song and turns it into a dream-like trance. 

“You melt up my body and all my heart, at least now we’ll get all the time apart/ Guess I’ll see you in another life,” PinkPantheress sings, her angelic voice teasing the themes of love and obsession that apprehensively exist throughout the album, strategically hidden under the sonically textured instrumentation.

Track two, “True Romance,” begins with the sounds of a camera shuttering, glaringly parting from the Gothic canvas depicted by “Another Life.”

PinkPantheress sings coyly, her voice echoing against the gentle strum of the guitar, forming a beautiful refrain that flickers with starry introspection, seeped in a thick sonic production and a syrupy beat that creates a distinguishable nostalgic element.

Affluent in emotional textures and amplified by PinkPantheress’s dizzying themes of love and obsession, track three “Mosquito” gently warrants its place on the album. 

Held together by pastel harp plucks and slivers of synths, the fragile wisps of PinkPantheress’s voice weave their way in between the velvety electronic beats as she playfully fleshes out the melody that turns the song into a type of ethereal hyperpop daydream.  

Each song on “Heaven Knows” consists of PinkPantheress’ unmistakable sound — a thick production of tempered keyboards and U.K. garage beats, frosted with her dreamy voice and lyrics that flawlessly reflect the recurring themes that saturate the album.

But even PinkPantheress’s soft, angelic tone can become monotonous at times, and halfway through the album, the airy melodies begin to blend into each other. Her hyperpop sound becomes one-dimensional, and the latter half of the album turns into a tangled jumble of sonic repetition as each song becomes indistinguishable from the next.

The repetitious trance that gilds the second half of the album is broken by track eight, “Ophelia.” PinkPantheress’ syrupy vocals flicker with hazy, brokenhearted lyricism as they gloss over the unassuming strum of the harp that leisurely serenades the beginning of the song.

“So tell me, what did I do to deserve you/ Killing me this way, I can’t lose,” PinkPantheress sings, her voice trembling with uncertainty over the shimmering pluck of the harp. 

“Ophelia” dimly explores the recurring themes of love, obsession and heartache, intertwining the lyrics with the gentle melody, while encompassing PinkPantheress’s unique expression of individuality. 

Track 12, “Capable of love,” deviates from the sullen sound of “Ophelia,” guided by the upbeat electronic sound of pop-bliss that encompasses PinkPantheress’s iconic micropop style. 

The song’s feathery chorus and honey-like beat are consumed by PinkPantheress’ soaring harmonies; her serene falsetto that cloaks each song turns into something greater, her delicate voice conveying a deep complexity and vivid range. 

“And I think I need a picture ‘cause it’s never enough/ to see you smilin’ in my mind when I lay still in the dark,” PinkPantheress murmurs, her voice housing a distinct sense of yearning and creating an imaginative display of originality.

Each song is fleeting, barely spanning over three minutes before halting to a stop. But despite the length, each track is a polished arrangement of individuality, as PinkPantheress’ pillowy voice laces its way through U.K. garage beats and hushed synths, creating an imaginative sonic experience. 

“Heaven Knows” is an attentive debut album, ambitious but still aware of the distinct formula that has given PinkPantheress so much success. It narrates a type of rich complexity in a delicate fusion of pop sounds, whispery synths, quick stabs of energetic breakbeats and visionary melodies. 

In 13 songs and 34 minutes, “Heaven Knows” encompasses the best part about PinkPantheress: her individuality. 

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