Tag: Alternative

Posted in Music

Phonetics On and On – album review

Posted on by madeline @ The Bookish Mutant

Happy Thursday, bibliophiles! Finally had time to do an album review…unprecedented…

I first fell in love with Horsegirl in my senior year of high school. Back then, they were afloat on a handful of singles and on the cusp of a debut album. By the time Versions of Modern Performance came out, it was the soundtrack to the summer before I went to college. Their clever, endlessly creative style, informed by the ’70s and the ’90s in equal measure, enchanted me—it felt like almost nothing like what many other musicians of their generation were putting out. Along came 2024, and the promise of something somehow even better was on the horizon: a new Horsegirl album, produced by Cate Le Bon and recorded in The Loft, the famous (at least to me) Chicago studio owned by Wilco. What could go wrong? Almost nothing, as it turns out—Phonetics On and On is proof that the playful, inventive spirit of Horsegirl lives on, and that it’s beginning to mature into something spectacular.

Enjoy this album review!

PHONETICS ON AND ON – HORSEGIRL

Release date: February 14, 2025 (Matador Records)

TRACK 1: “Where’d You Go?” – 8/10

Just shy of two minutes long, “Where’d You Go?” is a song that lives up to the band name—the propulsive beat has the urgency of a racehorse speeding down a track. Drenched in tight, Feelies-esque (crazy) rhythms, it kickstarts the album with a jolt of sparking energy. Gigi Reece’s drumming has the lightning-fast patter of rabbit’s feet against the dirt, while the dueling voices of Nora Cheng and Penelope Lowenstein tug the track in two directions, a short leash that snaps to allow for a crayon’s scribble of a guitar riff to burst in at the 1:12 mark. The frenetic energy is a remarkable bridge from their work on Versions of Modern Performance to this album—vestiges of their earlier compositions, but the beginnings of a divergence into musical maturity. That’s how you start an album.

TRACK 2: “Rock City” – 7.5/10

Reining in the freewheeling energy of “Where’d You Go?”, “Rock City” mellows the album into the pace that much of the rest of Phonetics On and On settles into. It’s odd to have a more transitional track by only track two, but that feels like the function of “Rock City” is to me—it’s one of the weaker songs on the album, but nonetheless great; it serves to weave together the fluctuations in energy from track one to many of the others. That being said, it’s not a bad song by any stretch of the imagination. With its pastoral imagery and catchy, upbeat stillness, it’s the perfect track to relax the unbridled momentum of the opener. Cheng’s lighter vocals give it a gentle levity, while the sudden jumpstart in structure at 3:16 ensures a recurring theme on the album—you can’t be lulled into a false sense of security, because Horsegirl always has something up their sleeves.

TRACK 3: “In Twos” – 8/10

Initially, “In Twos” wasn’t a standout track for me. The slow pace didn’t bother me, but it didn’t grab me like many of the other tracks did. Yet the more I listen to the lyrics, the better it gets. Horsegirl are masters of crafting emotion from simplicity; much of Phonetics On and On was inspired by their collective experience of uprooting from Chicago to New York City to go to school at NYU, and the isolation of coming of age and moving to a new city. You can feel that understated alienation all over “In Twos,” a slow, wistful recollection of how “every car that passes by drives to you” and “your footprints on the street, they walk in twos.” It’s almost resentment, but feels to me more like a familiar feeling: watching people live normal lives as an outsider. The Rolling Stones-like repetition of “and I try” reminds me of that aching, to want to be accepted and feel normal and live a traditional life, but knowing that you’ll never fully mesh with them, and that life has a different destiny for you, no matter how hard you try to fight it.

Oof. Definitely got me there. Horsegirl lures you in with the “dadadadadada”s and then boom. ALIENATION! Seriously, this is starting to become one of the more impactful tracks on the album.

TRACK 4: “2468” – 8/10

Reviewed on Sunday Songs, 12/1/24 – a fascinating first taste of the album—Feelies worship, weird violins, Wes Anderson quirks, and above all, weird talent.

TRACK 5: “Well I Know You’re Shy” – 8/10

Picking up the pace that “2468” jumpstarted, “Well I Know You’re Shy” is just about the most Velvet Underground love song I’ve heard since Lou Reed tapped Moe Tucker to sing “After Hours.” I realize it’s hyperbole, but I can’t help but see the DNA woven between the two. Composed of old-timey phone cords and shyly open windows, it presents a love song that could only happen between two sharply-dressed Wes Anderson characters. Punctuated by Nora Cheng’s clean guitar riffs, it talks of a romantic looking out their window wishing to “sing for you/I wanna sing like I do/out your window,” continually rueing the fact that “what happened out there/I wish it was me.” There’s no tormented confessions of love or on-your-knees begging for a kiss, but a precocious, simple wish: “What happened out there/Well I know you’re shy/If you’ll listen to me/You’ll know I want to say hi.” I hesitate to call it childlike, but it has a doe-eyed purity to it that makes it so charming.

TRACK 6: “Julie” – 8.5/10

Reviewed on Sunday Songs, 12/29/24 – a glimpse into Horsegirl’s emerging introspective side, proof of their untapped ability to tap into tender emotion.

TRACK 7: “Switch Over” – 9.5/10

Reviewed on Sunday Songs, 2/2/25 – still the brightest, catchiest, and really the best song on the whole album.

TRACK 8: “Information Content” – 8/10

This is one of the brightest songs on Phonetics On and On, and I don’t mean that in intelligence—listen and you’ll understand. “Information Content” glows with the blinking spirit of a glass lightbulb. The brightness comes in no small part from how jangly they go with the guitars on this one—in between Reece’s soft drumming and egg shakers, Cheng’s voice is allowed to be so cheerful and airy, even when the lyrics might as well be crossing items off a grocery list or striking a day from the calendar. That’s the power of Horsegirl to me (Horsepower?)—they dredge so much playful joy from the mundane and ordinary, making a trip to the kitchen into a spring-stepped skip. There’s something about “Information Content” that feels distinctly Wilco to me as well—it seems that the influence of The Loft rubbed off on them. (How could it not?) At 2:58, the guitar solo kicks in, but gets crumpled into tinfoil chaos just as quickly; it’s so prickly and collapses in the blink of an eye, and I can’t help but be reminded of Nels Cline’s improvisations and swift-fingered touch to his guitar playing, or even the way that Glenn Koche’s drumming descends into madness during “Via Chicago.” Of course, nobody can come close to that level of masterful insanity (especially on their second album), but I can hear the influence loud and clear—and I love it.

TRACK 9: “Frontrunner” – 8.5/10

The last single to be released before the entire album came out, “Frontrunner” lies in the same vein as “Julie”—a slow-paced, more instrospective side to Horsegirl that’s unafraid to strip down to more raw, spare elements. On the composition, the band said that this gentler track was born after “[I] had just had a really terrible, emotional day…and Nora and I were like, ‘OK, we should just play guitar today, you need to do something.’ And we wrote that song together.” It’s so simple, yet so heartwarming to me that such a tender song came out of ordinary moments that we’ve all shared with friends; Even before I knew the context behind it, “Frontrunner” rang proudly as such a distinctly friendship song to me, and I loved it for just that. For me, it embodies another kind of college feeling, the post-freshman feeling of realizing “oh my god, I’ve got friends?” and that realization powering you through the day that you have so many new, wonderful people to share your life with who are only an arm’s length away. The repetition of “I can’t wait/And I can’t wait/And I can’t wait” is filled with a wistful, anticipatory glee despite the slower tempo of the track, but the happiness on the horizon is what made it such a winner for me. A frontrunner, if you—[gets dragged off the stage by a comically large cane]

TRACK 10: “Sport Meets Sound” – 7/10

Horsegirl claimed that they’re mostly finished with the “joke titles” that composed most of Versions of Modern Performance (“Rock City” is allegedly the last of its kind), but…if this isn’t the most Versions of Modern Performance title I’ve ever laid eyes on…

Taking cues from the more laid-back tone of “Frontrunner,” “Sport Meets Sound,” contrary to the speed that the title implies, eases the album close to hitting the brakes. With a steady, marching band-like drumbeat from Reece and strings of “dadadadadada’s” aplenty, it doesn’t do a whole lot to distinguish itself from the other tracks, in the grand scheme of Phonetics On and On; like “In Twos” and “2468,” it’s lyrically twins with “Rock City” (see the “Young man sickened by the sight” refrain), but unlike those two, it doesn’t stand out as much as the former two do. But if that’s a weaker Horsegirl song…man, I’m so impressed with their output, because even at their weakest, they can make a truly catchy indie rock song, and that’s just what “Sport Meets Sound” is. It’s a transitional song to the end, and it works perfectly as such.

TRACK 11: “I Can’t Stand To See You” – 8/10

Sliding in to give Phonetics On and On a final spark of momentum, this track lifts the smile of the album at large, a peppy victory lap that unites all of the best aspects of the album at large. The jangle-o-meter has been calibrated so much that it’s broken, the spring in their metaphorical step is even springier, the “da-da-da-da-da’s” unfurl out before you like a promising scroll. The lyrics become playfully self-aware both of the song’s status as an album closer: “Do you want to go home now?/The night’s almost through.” Yet with a sly wink, they promise that they’ve got more up their sleeve: “Just another walk around the block now.” It feels more like a closing theme to a children’s TV show than a closing track to an album; It declares that there’s one more bout of carefree fun to have before Horsegirl has to say goodbye. In a way, it’s a thesis of the album’s spirit: so aware of itself that it becomes a blast, and so carefully constructed that the joy is an integral part of the process.

I averaged out all of the ratings for each track, and it came out to an 8.1! Without a doubt, Phonetics On and On is set to become one of my favorite albums of the year…and it’s only February. Horsegirl bring a welcome, much-needed dose of free-spirited yet tightly-constructed craft into their art and to the world, piling catchy melody after catchy melody for a record that sees them maturing into fledgling artists, yet never denies the play that is central to their ethos. I’d go so far as to say that we’re all better for the joy they bring to their music. I know I am.

Since this post consists entirely of songs, consider all of Phonetics On and On to be today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

Eye on the Bat – Palehound album review

Posted on by madeline @ The Bookish Mutant

Happy Wednesday, bibliophiles!

I haven’t even been into Palehound for a year; after loving Bachelor, her collaborative project with Jay Som, I decided to get a taste of her music last September, poring through her albums and EPs in a somewhat chronological order. There were hardly any misses that whole time—solid, guitar-driven indie rock the whole way through. So you can imagine my excitement when I found out that Palehound was releasing a new album this summer! And now, after playing it through many times, I’ve come to the conclusion that it’s a perfect indie summer album, full of sharp lyricism and shredding.

Enjoy this album review!

EYE ON THE BAT – PALEHOUND (album review)

Release date: July 14, 2023 (Polyvinyl records)

TRACK 1: “Good Sex” – 7.5/10

“Good Sex” is the perfect intro to Eye on the Bat: short, funny, and self-awarely so. It seems to stumble around as it builds to a nonexistent crescendo, as El Kempner paints a scene of plans gone wrong, each note climbing as the situation mounts into more and more awkwardness. The laugh in her voice escapes as she describes “our cat licking his ass and looking confused,” backed by two, persistent guitar chords in this song’s 1:41 entirety. Not the best track, but a great bit of self-deprecating, awkward humor to start the album off.

TRACK 2: “Independence Day” – 8.5/10

I am living life like writing a first draft

Cuz there is nothing to it if I can’t edit the past,

And even if I could, it would kill me to look back

No I don’t wanna see the other path…

Palehound, “Independence Day”

“Good Sex” may have been track 1, but I feel like “Independence Day” is where Eye on the Bat really starts off. One of the undeniable highlights of the album, Kempner presents a tumultuous breakup in the middle of a holiday, woven through bright and spidery acoustic riffs. It’s one of those great songs that doesn’t just paint an image, but makes you visualize it so clearly that you might as well be watching a movie. With every detail, Kempner sets her breakup against the backdrop of “foaming sugar in our laps/sparkler in my throat, can we just take it all back?” And the chorus, with its driving guitars and musing on alternate paths, makes for an exceptionally catchy and witty indie rock track.

TRACK 3: “The Clutch” – 8.5/10

I’m glad that you know better now

And I’m glad that you found yourself

But you didn’t need my help…

Palehound, “The Clutch”

Whoever decided to release “The Clutch” as the very first single from this album needs a raise. What better song to build up excitement for the album than this one? Eye on the Bat is undeniably a breakup album, but it’s the shreddiest breakup album that I can think of—and “The Clutch” is proof. From the get-go, it launches into guitar work that pierces its way through your headphones and feels, just as the chorus says, like “a punch in the gut.” The shift from the quieter instrumentation of Black Friday to Kempner’s fiery riffs on this album never feel unnatural—in fact, it feels like a return to form, calling back to earlier tracks like “Molly” or “Drooler.” Punchy and vibrant, this is, without question, one of Eye on the Bat’s best tracks.

TRACK 4: “Eye on the Bat” – 8.5/10

Broken wing ails a standing bird
She sings a gravelly call,
But flightlessness is nothing new
For an ostrich after all…

Palehound, “Eye on the Bat”

Eye on the Bat’s title track may slow the pace right after “The Clutch,” but the quality stays just the same. With its tangled riffs and steady drumbeat, it’s a real showcase of the deadpan wit of Palehound that endeared me to them when I first started listening to Dry Food. There’s not a single lyric that doesn’t pass my notice—I listened to these first few singles so much that I gaslit myself into thinking that “eye on the bat” was the actual expression and not “eye on the ball,” but that’s the power of a hooky song/album title. Other than being as snappy as it is, I can almost piece it into some of the album’s themes of being in the present; could “suckers will all tell you to keep watching for the ball/but better than that/keep your eye on the bat” be a mantra to focus not on what’s coming at you, but to focus on what’s tangibly in your hands? I certainly need to take that to heart, if it’s true.

TRACK 5: “U Want It U Got It” – 7/10

With a clicking, pulsing drum machine that sounds more like an old arcade game than Palehound’s normal sound, “U Want It U Got It” is a brief departure from the album’s cohesiveness—and from their sound in general. Though not all of it’s successful, it’s certainly catchy; though Kempner’s attempt to lower her voice comes out unsure and wavering, the steady, pulsating beat makes the song almost as vibrant as the other tracks. I wouldn’t say that there are any bad songs on this album, but this was a very brief low point. Experimenting is always welcome from Palehound, but this one doesn’t feel quite as successful, even if it’s a good listen. I’d still call it a good song.

TRACK 6: “Route 22” – 8/10

An instant head-nodder, “Route 22” feels all at once like classic Palehound and something fresh and new. It could’ve been right at home on A Place I’ll Always Go or Black Friday, but the maturing of Kempner’s songwriting makes it stand on its own. With its steady, Wilco-reminiscent, twangy-at-the-edges instrumentation and Kempner’s light, dreamy harmonization with herself, it’s a track that feels baked in the summer sun, smelling of fresh-cut grass and thinning clouds. Another highlight of Eye on the Bat, no doubt!

TRACK 7: “My Evil” – 7/10

This second single to come out of Eye on the Bat was my least favorite, and although I still like it, “My Evil” still hasn’t really grown on me. The lyrics are just as witty as any other song on the album, telling a narrative of grappling with yourself and the problems you’ve caused. But every time I listen to it, something feels like it’s missing. I still can’t quite put my finger on it, but something about “My Evil” feels almost bare and restrained, and not necessarily in an intentional way. With how well-written the lyrics are, it’s as though the music is struggling to catch up. That’s not to say that it’s an enjoyable song, but for Palehound’s fourth effort, it feels like it’s holding itself back. Either way, there’s no denying how great the lyric video is—whoever had the idea to make it mirror the opening credits to The Sopranos was genius.

TRACK 8: “Head Like Soup” – 8.5/10

My head like a pot of thick soup,
Stirred and tasted
I live to fill you up,
And I burn unwatched…

Palehound, “Head Like Soup”

What I thought was going to be a song about burnout or sickness (we’ve all had that feeling of having soup for brains, right?) turned out to be a great song about sacrificing your well-being for somebody else. And it’s one of the best songs on the whole album—certainly the best non-single tracks. I genuinely can’t find anything bad about this song; the instrumentation is impeccable, from the Wilco-esque chorus to the electronics creeping into the second verse. It pounds one minute and crawls in the next, never once losing its consistency or momentum. And what better way to end it than cranking up the distortion and letting it ring? Fantastic.

TRACK 9: “Right About You” – 7.5/10

With a gentler, folk sensibility to ease the album into its final minutes, “Right About You” is a tender, orange-colored piece of introspection. Every lyric makes a collage of moments leading up to an inevitable implosion, but lingers in the space between them. It’s a song that makes a gentle impact, like Kempner’s first lyric of “cold water breaking at our feet.” It isn’t as punchy and powerful as the rest of the album, but there’s no need for it to be—the final bits of introspection and quiet on this album are a perfect rest stop.

TRACK 10: “Fadin'” – 7/10

The fading (no pun intended) that “Right About You” set up culminates perfectly in this soft, gentle end of the album. With its drifting, subtle electronics painting the backdrop, “Fadin'” lingers in its faint distortion, almost all acoustic guitar and Kempner’s whispery vocals. However, it comes across as a song that solely came into being to be an album closer. Although it fits neatly into the themes of the album at large, I think it would have trouble standing on its own, as opposed to almost eery other track on this record. Nevertheless, it’s still a delightfully woozy, sleepy song, gently tucking you into bed as you say goodbye to the album.

I averaged out my ratings, and they came out right at a 7.8! Definitely reflects my thoughts to a T: a short, punchy album with no shortage of witty lyrics and songs to nod your head to. A perfect summer album, and a great addition to Palehound’s catalog!

Since this post consists entirely of songs, consider all of them to be today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

the record – boygenius album review

Posted on by madeline @ The Bookish Mutant

Happy Monday, bibliophiles!

It’s finally here! The moment that I’ve been patiently waiting for…

After I discovered Phoebe Bridgers back in early 2020 (before it all went wrong), my boygenius revelation came soon after (right around when it really all went wrong). Not only was it my gateway to Julien Baker and Lucy Dacus, but it stood out as a representation of so many things—a critique of the pedestals we tend to reserve only for male artists, the way the music industry often lumps together “women in indie rock” simply because of their gender, and the magic that happens when three incredibly talented queer women get together and make music. Their self-titled EP, released in 2018, seemed to be the beginning and end of their relationship, but they secretly reformed and came together to release their first full-length album this March. And the results are simply magical, full of different highs and lows, but emotional and heartrending all the way through—in the best way.

boygenius’ Rolling Stone cover, an homage to Nirvana

Enjoy this album review!

THE RECORD – BOYGENIUS (album review)

Release date: March 31, 2023 (Interscope records)

TRACK 1: “Without You Without Them” – 8.5/10

never underestimate the power of an intro 🥲

If the record encapsulates the friendship of Baker, Bridgers, and Dacus, then this song is the perfect summation of that thesis. boygenius have made me so emotional over a cappella, somehow—their harmonies, pioneered in this case by Lucy Dacus, rise in perfect tandem, as each one thanks their parents, and their parents before them (“who would I be/without you, without them?”)—for the opportunities that brought them together as friends, by a cosmic miracle, and relishing in the quiet moments opening up to one another. Already a hard-hitter, and we’re barely even a minute into the album…

TRACK 2: “$20” – 9/10

Mama told me that it don’t run on wishes, but that I should have fun,

Pushing the flowers that come up

Into the front of a shotgun…

boygenius, “$20”

Rocketing from the quiet moments to a supersonic pace, “$20” remains one of my favorite songs on the album, even after everything else came out. Every lyric is delivered like a punch while grinning, each member’s voice coalescing and pulling apart at just the right moments, fading in and out of sync in perfect deliberation. Everything erupts with Phoebe Bridgers’ final scream, which remains one of the highlights of this album, where all of the pent up energy in this song bubbles to the top and fades out just as quickly. HAAAAAAAGH I STILL CAN’T STOP LISTENING IT’S BEEN LIKE 2 MONTHS

TRACK 3: “Emily I’m Sorry” – 8/10

This was my least favorite of the singles, but it’s still a beautiful heartbreaker of a song—like much of Phoebe Bridgers’ work, the instrumentation (which I still love, especially when everything seems to dissolve at 1:46) takes a backseat to her air-light, heartstring-tugging voice, and lets her shine. It just feels less cohesive as a supergroup—I get that all of the members had their songs that they wrote on their own, but this feels more like a Phoebe Bridgers single that just happens to feature Baker and Dacus than a boygenius song. It’s worked with some of the other songs in that style, but I feel like this would’ve worked better as just Phoebe Bridgers.

TRACK 4: “True Blue” – 8.5/10

sidenote—the shots of them sleeping in the film remind me so much of Blur’s “No Distance Left to Run” music video…

And it feels good to be known so well

I can’t hide from you like I hide from myself…

boygenius, “True Blue”

Hooooooooowhee, we’re back to Lucy Dacus throwing her whole fist into my chest and tugging at the heartstrings, huh? Is that what we’re doing?

Although (almost) nothing compares to the meteoric ecstasy of “$20,” “True Blue” is still a steadfast favorite of mine on this album. It’s a case study of how perfect the harmonies of these three are for each other. The way that Baker and Bridgers chime in on the bridge always makes my heart sing, as though they were somehow predestined to have this pairing of differently gorgeous voices, all joining hands in another ode to their mutual friendship.

TRACK 5: “Cool About It” – 9.5/10

But we don’t have to talk about it,

I can walk you home and practice method acting,

I’ll pretend that being with you doesn’t feel like drowning…

boygenius, “Cool About It”

This one rapidly rose to become my favorite on the album, and I’ve had it on repeat ever since. boygenius is versatile in the way that they organize songs together—sometimes it works with all of them singing at once, as in “$20,” but neatly-sectioned songs like this one, where each of the members gets their time in the spotlight, works just as well as the other. And this one’s the shining highlight of the album, a Simon & Garfunkel-inspired, introspective reflection on the complicated feelings of confronting people who were once prominent in your life—not being able to deny their toxicity, but grappling with not being able to outwardly show it. Each facet of their lyricism shines—Baker’s ability to dig directly into the emotional core of these feelings and making it look easy, Dacus’ dry but solemn display of wit, and Bridgers’ vulnerable confessions steeped in glistening stars. I have nothing but love for this song.

TRACK 6: “Not Strong Enough” – 7/10

Strangely, this was one of my least favorites of the album—the lyrics remain incredible (and the music video is so sweet 🥲), but there’s a country-pop twang to this one that doesn’t quite hook me all the way. There’s no denying how wonderful the ending is as Lucy Dacus builds up the bridge—”always an angel/never a god,” which all comes crashing together as we get another fantastic Phoebe scream.

TRACK 7: “Revolution 0” – 7/10

Though this one doesn’t hit me as hard as some of the others, Phoebe’s soft introspection truly shines on this song. The barely audible strings and the fluttering, dissolving synths make for an atmospheric song that feels like the musical equivalent of watching the sunrise on a crisp, winter morning. I can practically feel my breath fogging out before me, just as all three of their voices seem to gently drift into the air.

TRACK 8: “Leonard Cohen” – 6.5/10

Though Lucy Dacus’ lyrics are still funny and tender at the same time, this song feels oddly disjointed to me. Dacus’ voice comes in at a sudden, weirdly-placed time, and it doesn’t seem like it’s no purpose. Again: lovely lyrics, but the song never quite picks itself up from that initial, rocky start. I hate to say it, but maybe it’s for the best that it’s so short.

TRACK 9: “Satanist” – 8.5/10

(do I get something for being the 666th like on the lyric video for a song called “Satanist”?)

(STOP TRYING TO AUTOCORRECT CRED TO CREDIT SHUT UP SHUT UP)

One of my favorites after the singles, “Satanist” is proof that the neatly-sectioned format of letting each member sing a verse is a perfect way to let them all shine through! With Julien Baker’s witty lyrics and punchy guitars all the way through, it’s just a lovely chunk of indie rock all the way through. The ending, though drastically different, is just as wonderful, with all of their harmonies rising up like bonfire smoke into the night sky.

TRACK 10: “We’re In Love” – 8.5/10

If you rewrite your life,

May I still play a part?

boygenius, “We’re In Love”

Ow, did Lucy Dacus just get saddled with all dealing all of the emotional damage on this album? Does she just have a huge paddle that she’s just musically whapping us with? If that’s the case, “We’re In Love” was what knocked me off my feet for good…ouchie

Nearly 5 minutes long, “We’re In Love” presents Lucy Dacus and company ruminating on the nature of their shared friendship once more, reflecting on inside jokes and quiet moments spent together, and loving every inch of each other despite their flaws. Even outside of their cosmically aligned harmonies, it’s clear that boygenius have struck something truly special with their friendship, a connection that has allowed them to grow and produce no shortage of beautiful, creative works, and get to know each other better through it. It’s gorgeous…get out the tissues.

TRACK 11: “Anti-Curse” – 8/10

Turning back to the more fast-paced side of “Satanist,” “Anti-Curse” has Julien Baker letting loose once more. Though I enjoyed some of Baker’s other tracks more, it still has that raw vulnerability that endeared her to me when I first became a fan, but with the expansion of her more vast, Little Oblivions sound that gives everything even more weight. It feels like the whole song is painted in the same colors as the album color, with sunsets, breaking waves, and the taste of salt in your mouth.

TRACK 12: “Letter To An Old Poet” – 8.5/10

I wanna be happy, I’m ready

To walk into my room without looking for you,

I’ll go up to the top of our building,

And I’ll think of my dog when I see the full moon.

I can’t feel it yet,

But I am waiting…

boygenius, “Letter To An Old Poet”

Oh, so I see they let Phoebe Bridgers have this one tearjerker, and she took the opportunity and RAN with it? YOW.

I can’t think of a more fitting closer for the record. The whole song acts as a sister song to “Me & My Dog,” off of their self-titled EP, a reconciliation not only with the complications of a past relationship, but of a desire to heal oneself, move on, grow, and confront the truth. It’s clearly personal to Phoebe, but it feels like a collective healing call for all of them, a promise that the past is the past, but that we are all different people than who we once were. Every re-worked lyric acts as proof of change, a renewed mindset, and of hope that the future will be better while stargazing. Gah. Beautiful end to a beautiful album…

THIS PHOTOSHOOT HAD NO BUSINESS BEING THIS FUNNY 💀 I CAN’T GET OVER JULIEN IN THAT FRILLY DRESS HAHAHAEHJKEFKFDKJ

I averaged out all of the ratings for each track, and it came out to about an 8.1! I’m so glad that they decided to make a whole album—through all of the highs and lows, it displays their talents as individual musicians and as a collective creative force, and I’ll never get sick of their heavenly harmonies. And above all, it stands as a tribute to queer friendship, and every kind of love that we share, no matter the feelings that we associate with it. I’m sure it’ll be one of my favorite records of this year, without contest.

Since this is an album review, consider the entirety of the record to be today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music, Sunday Songs

Sunday Songs: 2/5/23

Posted on by madeline @ The Bookish Mutant

Happy Sunday, everyone!

It’s February now, and what better way to start the month off than with an excess of Super Furry Animals? I hereby claim no responsibility for any damages caused by any bipedal, masked, bear-like demon-creatures that may cross your path. They’re best deterred by repeated screaming, if you want my advice. And look out for the chupacabras while you’re at it.

Enjoy this week’s songs!

SUNDAY SONGS: 2/5/23

“The International Language of Screaming” – Super Furry Animals

I finally listened to all of Radiator (which I seriously think boasts one of my favorite album covers…ever, really. You really won with this one, Pete Fowler.) earlier in the week, and it just felt like pure fun all the way through. I know how vague of a description that is, but listening to almost every track (save for the downer “Download”) gives me the sense that Gruff Rhys and company had a blast recording every single song. Knowing that this comes an album or two before the masterpiece that is Rings Around the World, Radiator feels like the band keeping the cheerful, carefree spirit that they’ve always maintained, but just starting to get weird with it—they haven’t quite gotten into the flat-out experimental territory of Rings just yet, but you can see it peering through the cracks just as well. My only criticism that I can think of for Radiator is that some of the songs blend together a bit, but it’s not a complaint if they all sound almost as good as this one. “The International Language of Screaming” is a clear standout—it’s a concentrated shot of Britpop fun straight to the heart, pure and simple. Maybe it isn’t as weird as some of my other SFA favorites, but I can’t help but nodding my head to every “la la la la” and ecstatic “WOO!” every time it comes around on shuffle. It’s joy with a side of popping colors and punchy guitars.

“By the Sea” – Wendy & Bonnie

Apologies for the whiplash from going straight from “The International Language of Screaming” to this eeriness. But, as with far too much with this post, there’s an inevitable Super Furry Animals connection.

I first found out that this song existed because of “Hello Sunshine”; I distinctly remembered a part at the beginning that creeped me out as a kid, so, naturally, I set out to find it. Sure enough, it was a sample of this song (0:00-0:47 in the video), and the rest of the song is…just as creepy. Recorded when Wendy and Bonnie Flowers were 17 and 13, respectively, it’s a chilling, atmospheric song that feels just as gray as a cold, churning sea crashing against a rocky shore. Punctuated by seemingly random fills of soft drums and out-of-sync guitar strums, there’s a strange discordance about it. It’s clear that the vocals were intended to be the main attraction here, their lilting harmonies shining through the cloudy fog of the rest of the song. It’s a great listen, but at the same time, it’s strangely comforting to think that I’m still creeped out now by the same thing that I was creeped out at when I was 5. I still don’t get why I was freaked out by some random clip from Baby Einstein, but this is understandable. There’s really something about Wendy & Bonnie, huh?

“Everyday Sunshine” – Fishbone

“Everyday Sunshine” takes on a whole new meaning when you wake up on Monday morning and see that it’s -6° outside. Anybody else sick of winter? No? Just me?

Aaaaaaaand another whiplash-inducing left turn, but we’re back to happy songs, don’t worry! We’re back to what’s close to the epitome of happy songs, as a matter of fact. I found this one courtesy of my amazing mom, and I haven’t stopped nodding my head ever since. If Super Furry Animals tried to embody joy, this is inches away from the pinnacle of the feeling itself. Just like the colorful murals and fields of blue and orange wildflowers in the music video, “Everyday Sunshine” is a sunburst (no pun intended) of carefree ska happiness. Every note from the brass section and every drumbeat brings armfuls of hope, and you can’t help but look out at the cloudy skies and try and find that tiny sliver of sunshine poking through. It’s the perfect bandaid for every mood: happy? Play this song. Neutral? Play this song. Sad? Play it and dance by yourself until your troubles are but motes of pollen drifting away from the aforementioned field of wildflowers. Again, a big thank you to my mom for this one. ☀️

“True Blue” – boygenius

With that, we’re…back on the sadgirl train, but…this one’s at least not nearly as heartbreaking as “Emily I’m Sorry,” so…

The harmonies of Julien Baker, Phoebe Bridgers, and Lucy Dacus obviously fit together like it was written in the stars, but even so, you can see whose songs are whose—and this is Lucy’s song, without question, even if the handwritten in the lyric video didn’t give it away. It has their signature melancholy written all over it, but somehow, it feels more on the tender side, like learning to love somebody after you’ve only just started to heal yourself. Dacus’ voice is a soft but pushing force, gently letting the song form itself around her as it swirls into the night sky, while the higher harmonies of Baker and Bridgers seamlessly flow through to the chorus and the bridge—I particularly love how Baker’s high notes come through on the bridge—”Because it doesn’t matter anymore/Who won the fight?/I’m not keeping score.” Songs like this really display the two sides of boygenius—it’s a song where one member takes the lead, but they still come together as a single, cohesive force of nature.

“The Man Don’t Give a Fuck” – Super Furry Animals

“Out of focus ideology/Keep the masses from majority/Head space brainwashed, tumble dried/Left to bleed whilst vultures glide…”

…oh, so they just went and gave the GOP their own theme song, huh? On second thought…no. The GOP doesn’t deserve such a monumental banger.

I hate to double up here, but the Super Furry Animals train has left the station, and it’ll be an eternity before it reaches its destination. This song has quickly risen to become one of my favorites of theirs; it may not be as weird or experimental as some of my other favorites, but it’s a tight, four-minute burst of head-banging. From the deceptively slow build of the first minute, the music cascades into pure fuzz and drumbeats, and though the music drops out for short intervals, it never once loses its unstoppable momentum. It’s easy to see why this was one of their most popular songs: even though the chorus dominates almost the entire song, you can’t help but get up on your feet the minute the drums kick in. The slow creep of the vocals and jingle bells that starts at around the 2:30 mark builds suspense with a gradual layering of harmonies, building to a raucous screams that pushes right back into the ecstasy of the chorus. Almost 5 minutes of the same line (“you know they don’t give a fuck about anybody else”), and it never gets tiring—on the contrary, it’s already my second-most played song of the year, according to Apple Music. That’s an earworm for you.

Since this post consists entirely of songs, consider all of them to be today’s song.

That’s it for this week’s Sunday Songs! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

Sometimes, Forever – Soccer Mommy album review

Posted on by madeline @ The Bookish Mutant

Happy Wednesday, everyone!

In a continuation of my assertion that 2022 is the year that the music gods have blessed us, here’s a review of one of my most anticipated albums of the year!

I’ve been a fan of Soccer Mommy since hearing her on the radio years ago, listening to all of her albums and even seeing her live a few times (once opening for Vampire Weekend, the next time headlining—the crowd SUCKED for that one but she was great). So when I heard that she had a new album coming out this June, I was ECSTATIC. Unfortunately, the album ended up coming out on the same day that they announced that Roe v. Wade was overturned, so…yeah, that soured my mood for the whole weekend. But when I was able to get back out of the muck, I listened to this album, and it solidified itself as my favorite album of hers—each one just keeps getting better and better, and Sometimes, Forever was particularly adventurous!

(for my review of the album before last, color theory, click here!)

Enjoy this album review!

SOMETIMES, FOREVER – SOCCER MOMMY ALBUM REVIEW

TRACK 1: “Bones” – 8.5/10

You make me feel like I am whole again,

But I think your heart could use a tourniquet…

Soccer Mommy, “Bones”

Especially with the rest of the album to contextualize it, “Bones” is the perfect opening track for Sometimes, Forever. It feels just enough like classic Soccer Mommy that it feels timeless, but it’s a catchy, familiar-feeling song that eases you into the different direction that the rest of the album goes. On its own, it’s the perfect little indie-pop song: hooky, lyrically witty, and filled with bright guitars.

TRACK 2: “With U” – 9/10

This is where the album starts getting adventurous, and I’m 100% here for it! Lyrically, Allison is sharper than ever, but the addition of the more electronic instrumentals combined with her classic guitar work makes an immersive soundscape that swept me off my feet on the first listen. LOVE IT.

TRACK 3: “Unholy Affliction” – 10/10

This. THIS.

“Unholy Affliction” was the second single to be released from this album, and after “Shotgun,” this is what made me certain that I was going to love the album. My family and I agreed that it sounded like a Chelsea Wolfe song, something completely unexpected—and highly successful—for Soccer Mommy! Dark, immersive, and pulsating, “Unholy Affliction” was an instant favorite on the album, and one of her most daring songs to date.

TRACK 4: “Shotgun” – 8/10

Look at your blue eyes like the stars,

Stuck in the headlights of a car…

Soccer Mommy, “Shotgun”

This was the first single to be released for the album, and while it’s not the best on the album, like “Bones,” it’s an instantly catchy indie-pop song. In comparison to the rest of the album, it almost seems like Allison is playing it safe, but it’s also proof that even when she’s holding back, she can produce something as fun and memorable as this.

TRACK 5: “newdemo” – 7.5/10

Hear the city roar,

A creature that feeds behind closed doors…

Soccer Mommy, “newdemo”

Dizzy and strangely sweeping, “newdemo” strays into new territory like “Unholy Affliction” did. It’s clear that Soccer Mommy and company had fun messing around with different synths and distortions while producing this song; it feels like it’s actively being warped around as you listen to it, veering slightly off-key but bringing itself back together just as swiftly. Not quite as successful as some of its counterparts, but still a success in and of itself.

TRACK 6: “Darkness Forever” – 9/10

Again with the Chelsea Wolfe sounds!! “Darkness Forever” edges close to metal on several occasions, with a creeping bassline and heavy, distorted guitars. Just like “Unholy Affliction,” Soccer Mommy’s experimentations with darker sounds lead to nothing but success—definitely one of her best songs in recent years!

TRACK 7: “Don’t Ask Me” – 8.5/10

With its fast, punchy guitars and Soccer Mommy’s airy, alluring voice, “Don’t Ask Me” has an easy time of cementing itself as one of the highlights on Sometimes, Forever. While it doesn’t delve completely into darkness like “Darkness Forever” or “Unholy Affliction,” it’s unafraid to get heavier, which works completely in its favor. An instant earworm and one of my favorites off this album!

TRACK 8: “Fire In The Driveway” – 9.5/10

Saw it in your blue eyes

When you were just a small child,

Now you’re only ashes of a man…

Soccer Mommy, “Fire In The Driveway”

“Fire In The Driveway” grounds Sometimes, Forever after the fast-paced “Don’t Ask Me,” delving into the nostalgic melancholy that makes Soccer Mommy so memorable. With its instantly memorable lyrics and bright, echoing guitars, this one is an easy standout on an already fantastic album.

TRACK 9: “Following Eyes” – 7.5/10

The lyrics are as potent as the rest of the album, but there’s something about this that puts it lower on the list for me. It’s still a fantastic song, no question, but it’s almost as though it tries to mesh older Soccer Mommy with her newer, darker sound. It’s very close to making it, but there’s some tiny bit missing, something that doesn’t quite piece the whole thing together. Nonetheless, still a great song.

TRACK 10: “Feel It All The Time” – 8/10

Like “Bones” and “Shotgun,” this feels like a timeless Soccer Mommy song—if you had told me that it had been from color theory or even Clean, I would’ve believed you. Yet still, it easily finds its place on this album, deftly adding to the mix of borderline-playing it safe to exploring new territory.

TRACK 11: “Still” – 9/10

I don’t how how to feel things small,

It’s a tidal wave or nothing at all…

Soccer Mommy, “Still”

For the closing track, Soccer Mommy brings it home with a somber acoustic piece laced with ghosts of the strange synths that adorned a good portion of the album. Unlike “Following Eyes,” the blend feels natural, and Allison’s knack for bringing genuine emotion to the forefront creates a beautiful end to the album, and a beautiful song that can stand by itself.

I averaged out my ratings for this album, and it came out to about an 8.6! I’d say that’s right on the mark; with every album, Soccer Mommy gets better and better, and Sometimes, Forever is her best work yet—dark and bold, but unafraid to return to her candid, emotional roots. Love it!

Since this is an album review, consider the whole album today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

WE – Arcade Fire album review

Posted on by madeline @ The Bookish Mutant

Happy Thursday, bibliophiles!

Welcome to another installment of “2022 is the year that the music gods have blessed us”…

Arcade Fire has been a fairly constant presence in my life for as long as I can remember; for years, I’ve been hearing and loving songs from Funeral and The Suburbs in my car, and I nearly got to see them live on their last tour (the concert was on the same day as a school trip I had 😭). So I was so excited to hear that they had another album on the way a few months ago—and now that I’ve listened to it, I love it!

Enjoy this album review!

(note: I will be excluding track 3, “Prelude,” from my review, as it’s only 30 seconds long of vague bonking noises and static.)

WE – ARCADE FIRE ALBUM REVIEW

Track 1: “Age of Anxiety I” – 8.5/10

Right off the bat, I was so impressed by this song! One of my favorite songs on the album, and the perfect opener too. With its steady beat and timely lyricism, it perfectly sets up the landscape of the rest of the album—love it!

Track 2: “Age of Anxiety II (Rabbit Hole)” – 7.5/10

Continuing the momentum from “Age of Anxiety I,” “Rabbit Hole” keeps its steady pace. As long as it is, it manages to keep itself afloat for the full seven minutes and still be consistently listenable throughout. Not as good as I, but still a wonderful continuation.

Track 4: “End of the Empire I-III” – 8/10

“End of the Empire I-III” takes a turn into slower, more introspective territory. Its lulling and waving melodies feel immersive and welcoming, and it demonstrates the extent of Win Butler’s lyricism, the intense introspection and reflection that makes Arcade Fire stand the test of time.

Track 5: “End of the Empire IV (Sagittarius A*)” – 8/10

Most of the songs on WE have at twin of some sort, and I’ve noticed a pattern—they’re never interchangeable, but they’re nevertheless inextricably connected. In the instance of “Sagittarius A*,” it’s a continuation of the slow, measured reflection of the strange mess of the world in the last two years. The lyrics are far more on the nose here (repetition of “I/we/she/etc. unsubscribe[s]), but they’re nevertheless timely. I love the little electronic strains at the end as well.

Track 6: “The Lightning I” – 8.5/10

The two “Lightning” songs were the first singles to come out of WE, and this one reminded me of why I love Arcade Fire so much. So many people, so many instruments, all in exuberant harmony—just the kind of energy that we need in these unpredictable times. Ties into the general theme of the album, from what I can discern—clinging onto hope and togetherness in a time bent on tearing us apart.

Track 7: “The Lightning II” – 8.5/10

It makes sense that the music video for the two “Lightning”s is all in one; unlike the other twin songs, this one is has the smoothest transition from one song to the other. And it continues its contagious, exuberant joy, bringing the album to a hopeful, explosive crescendo.

Track 8: “Unconditional I (Lookout Kid)” – 7/10

This is my least favorite song on the album, but it’s nonetheless sweet, especially considering that Win Butler wrote it for his kid. The lyrics are more than a little on the nose, but they’re lyrics that everybody needs to hear growing up, which is what makes them so lasting. Sweet stuff.

Track 9: “Unconditional II (Race and Religion) (feat. Peter Gabriel)” – 10/10

MORE REGINE CHASSAGNE PLEASE AND THANK YOU

I’ve had this on repeat for a solid week—my favorite song on the album! Régine Chassagne’s vocals have an infectious joy and excitement to them, and combined with the harmonious music and message, it makes for the best song on the whole album. It’s already the highlight of the album, but having PETER GABRIEL, FOR GOD’S SAKES—that makes it even better!

Track 10: “WE” – 7.5/10

A gentle, slow ease out of a fantastic album. Even though Arcade Fire’s strength is in their numbers and varied instruments, sometimes their acoustic pieces are almost just as good. That’s the case of “WE”—not the best song on the album, but a perfect segway out of an adventurous album and a softer comedown from “Race and Religion.”

I averaged out all my ratings from each track, and it came out to a solid 8.2! I feel like that’s an accurate portrayal of my thoughts; WE is, without a doubt, high in the ranks of my favorite albums of 2022 so far—timely, but still rife with the infectious joy that makes me love Arcade Fire as much as I do.

Since this is an album review, consider the entire album to be today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

Everything Was Beautiful – Spiritualized album review

Posted on by madeline @ The Bookish Mutant

Happy Saturday, bibliophiles, and happy world book day as well!! You’d think I’d have a book-related post today, but…nope. No thoughts, only Spiritualized for the next 3-5 business weeks.

Normally, I wait for a few days to a week after an album’s release to review it, but…well, between my listening to it yesterday and my dad playing it the whole way through in the car yesterday evening, I’ve probably listened to it three or four times in its entirety already, so…

Spiritualized has been one of my favorite bands for around two years—even longer, if you count when I first heard “Ladies and Gentlemen We Are Floating in Space” for the first time and listened to it on repeat to fall asleep on vacation. Their music, if I had to describe it in one word, is all-consuming; J Spaceman has built a stunning career out of making a song into a vast cosmos of sound, making themes of heartbreak, addiction, and new love into the dictionary definition of larger-than-life. That’s what I’ve always loved about his music—his songs never feel like just songs, but experiences.

By the time I’d really gotten into Spiritualized, I’d accepted that I wouldn’t be able to see him live or experience a new album of his; he’d said in several interviews that And Nothing Hurt would likely be his last album. But in late 2021, we were gifted with the best kind of surprise: we would be getting more Spiritualized after all!! Now that it’s here, I can say with certainty that there isn’t a single bad song on this album. It’s probably impossible to re-achieve the genius of Ladies And Gentlemen We Are Floating in Space or Sweet Heart Sweet Light, but Everything Was Beautiful comes very close, even at just seven songs.

Enjoy this album review!

EVERYTHING WAS BEAUTIFUL – SPIRITUALIZED ALBUM REVIEW

TRACK 1: “Always Together With You” – 10/10

This was the first single to come out of this album, and it singlehandedly provided all of the serotonin that I needed to get through the rest of 2021, so there’s that.

It’s not hard for me to say that this is easily one of Spiritualized’s best songs. Expansive and cosmic, I feel as though I’ve been lifted into the air and through the clouds every time I listen to it. I was texting my family about it when it first came out, and I jokingly called it “‘Ladies And Gentlemen We Are Floating in Space’ but happy,” and as much of a joke it was, it feels true; “Always Together With You” feels like a more matured, more hopeful version of its predecessor, down to the morse code sounds and J Spaceman’s daughter (😭) saying the album’s title at the very beginning. Absolute masterpiece.

TRACK 2: “Best Thing You Never Had (The D Song)” – 8.5/10

Smoothly transitioning from “Always Together With You,” “Best Thing You Never Had” keeps up the momentum set up by the first track with classic Spiritualized elements—catchy guitars, a backing choir, and what sounds like a good-sized brass section. Just as spacey as ever, it’s the perfect song for rolling the windows down in your car, and it’s sure to cement this album as one of Spiritualized’s best.

TRACK 3: “Let It Bleed (For Iggy)” – 9.5/10

When I saw Spiritualized back at the beginning of the month, this was one of my favorites of the new songs they played. Now that I’m hearing it through my headphones, it’s one of my favorites off the album! Here’s where the momentum sustained by “Best Thing You Never Had” picks up once more, with another sweeping, all-consuming thing of pure beauty.

TRACK 4: “Crazy” (cover of Nikki Lane’s “Out of My Mind”) – 8.5/10

(so apparently this is a cover?? took me a while to find out…I guess because the original has a different title)

“Crazy” is one of my least favorites on the album, but it’s beautiful nonetheless. Even as a cover (I’ve only listened to the original once, so…), it’s indicative of the quiet, genuine tenderness that J Spaceman is capable of amidst all of the heartbreak and darkness that’s prevalent in so many of his other songs. Lovely.

TRACK 5: “The Mainline Song” – 9.5/10

This is another Spiritualized piece that seems more like a journey than a song—all of the train sounds layered in only adds to that effect. With J Spaceman’s airy vocals and rushing instrumentals, it’s another song that seems to physically carry you somewhere else, watching the clouds rushing by. It doesn’t even matter that it’s chiefly instrumental—it’s an unmistakable highlight of the album.

TRACK 6: “The A Song (Laid In Your Arms)” – 9.5/10

Like “Best Thing You Never Had,” “The A Song” is a persistent, powerful march reminiscent of Spiritualized’s harder side. For Spiritualized, longer songs are a common sight, but at over seven minutes long, this song never loses its impact or momentum, delivering guitars and brass that crash against you like waves on the shore. Nothing short of a masterpiece—and another song that was phenomenal live!

TRACK 7: “I’m Coming Home Again” – 10/10

For a lot of Spiritualized albums, the final song is either a sweeping ballad or a mournful, soft ending. “I’m Coming Home Again” is neither of those—and it’s almost more powerful than some examples of both. It’s the longest song on the album at almost 10 minutes long, and like “The A Song,” never loses its momentum all that time. But unlike the former, it achieves its affect more in its consistent feeling of foreboding. It’s a haunting song—I have an oddly specific feeling that it would mesh perfectly in the second-to-last episode of a TV show, in a scene where the main character gets their revenge, walking away from lighting something on fire. From the first notes to the final strains of the choir, “I’m Coming Home Again” is a looming masterpiece, and an unexpected but perfect ending to a near-flawless album.

I averaged out all my ratings for each track, and it came to about a 9.4! Absolutely accurate to how I feel about Everything Was Beautiful—it’s hard to touch some of Spiritualized’s other albums, but this album establishes itself as one of J Spaceman’s masterpieces. It’s the perfect melding of the sound of 90’s Spiritualized with the hope of 10’s Spiritualized, and it makes for an album with a lasting, haunting, and eternally memorable effect. Thank you, J Spaceman, for another religious experience. 💗

“Everything was beautiful and nothing hurt.” – Kurt Vonnegut, Slaughterhouse-Five

Since this is an album review, consider the entire album today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!

Posted in Music

Laurel Hell – Mitski album review

Posted on by madeline @ The Bookish Mutant

Happy Wednesday, bibliophiles!

2022 is shaping up to be a year full of highly anticipated albums—Spiritualized, girlpool, Spoon (THIS FRIDAY AAAH), and so many others. Mitski’s Laurel Hell was the first of these; I’ve been a fan of Mitski since around 2019 after hearing “Washing Machine Heart” on the radio. Since then, I’ve delved more into her catalogue, but I’d say that 75% of what I’ve heard of hers, I’ve liked—hit or miss, but mostly hits. Bury Me at Makeout Creek was a near perfect album for me, but I haven’t listened to any of her other albums in their entirety.

So when I heard that Mitski was coming out with a new album, I was excited to take another dive into her catalogue. What I got, however, was an album that simultaneously stayed true to her past and branched out in new directions—with varying degrees of success.

Let’s begin, shall we?

Mitski: Laurel Hell Album Review | Pitchfork

LAUREL HELL – MITSKI ALBUM REVIEW

TRACK 1: “Valentine, Texas” – 7/10

“Valentine, Texas” is a sparse and eerie album opener. It slowly creeps along with only faint synths and Mitski’s breathy vocals, but eventually sprawls out into bright piano chords and a steady drumbeat. For me, it’s the musical equivalent of wading through pitch-black water—a beautifully atmospheric song and a great start to this album!

TRACK 2: “Working for the Knife” – 8/10

The fact that “Working for the Knife” was the first single released for Laurel Hell is a blessing and a curse—a blessing that it’s such a fantastic song, and a curse in that…well, it’s the highlight of the album for me, and it got released before everything else and raised my expectations. Nevertheless, this is classic Mitski at her best, with steady instrumentals and raw, biting lyricism aplenty.

TRACK 3: “Stay Soft” – 6/10

Open up your heart

Like the gates of Hell…

Mitski, “Stay Soft”

What Laurel Hell has revealed to me is that Mitski has begun to lean in the direction of poppier material. After the success of songs like “Washing Machine Heart” and “Nobody,” her songs have become more synth-dominated and upbeat (…well, musically upbeat) while still retaining their signature lyrical vulnerability. “Stay Soft” is just that, but for me, it didn’t reach the level of the latter two songs; the lyrics are some of Mitski’s best, but musically, it feels…strangely weak. Restrained, almost. Mixed feelings.

TRACK 4: “Everyone” – 8/10

And I left my door open to the dark,

I said, ‘Come in, come in, whatever you are,’

But it didn’t want me yet…

Mitski, “Everyone”

Although this isn’t *quite* as strong as “Working for the Knife,” it’s doubtlessly one of my favorites from this album. Like “Valentine, Texas,” its instrumentals are sparse, but it’s just as powerful and moving a ballad as any of her previous works. The imagery the lyrics evoke are especially strong, almost like dark fairytales in their sensibilities.

TRACK 5: “Heat Lightning” – 7.5/10

Sleeping eyelid of the sky

Flutters in a dream…

Mitski, “Heat Lightning”

By now, everyone’s made this comparison, but “Heat Lightning” REEKS of The Velvet Underground’s “Venus in Furs”—and it’s great. There’s a feeling of quiet helplessness to it, a reluctant lament accented by pianos and synths. It adds to the feeling I’m getting from most of the album—a distinctly nighttime atmosphere, nighttime in a forest clearing with a lake.

TRACK 6: “The Only Heartbreaker” – 6/10

Out of the four pre-released singles for Laurel Hell, “The Only Heartbreaker” was my least favorite. It was still enjoyable and catchy, but the synths felt bland to me. The fact that it was only co-written by Mitski detracted from it as well; Mitski is her best when the lyrics are all hers, and for a Mitski song, these lyrics bordered on simplistic. Not that simplistic lyricism is all bad, but for an artist like Mitski, it’s uncharacteristic. Still a decent pop song, though.

TRACK 7: “Love Me More” – 8/10

Out of all of the more pop-oriented songs on Laurel Hell, “Love Me More” is my favorite. Unlike with songs like “Stay Soft” or “Should’ve Been Me,” Mitski throws off all restraints on her vocals, letting her beautiful voice soar along with the synth notes that seem to climb with the lyrics. It’s the happy medium between what Mitski once was and what she seems to be aiming to be—vulnerable, but infectiously catchy.

TRACK 8: “There’s Nothing Left For You” – 6.5/10

Like “Valentine, Texas” and “Everyone,” “There’s Nothing Left For You” shows the quieter, somber side of Laurel Hell with soft vocals and bare-bones instrumentals. Although I still like it, it doesn’t pack the same punch as the latter two songs I mentioned—it does have a “kicking in” moment, but it’s in the middle of the song, and fades away to the same as the first third once the song ends. It’s still good, make no mistake, but not quite as powerful.

TRACK 9: “Should’ve Been Me” – 5/10

“Should’ve Been Me” is where Mitski’s pop direion steers into mixed-feelings territory for me. Strangely, although songs like “Nobody” worked with upbeat music and not-so-upbeat lyricism, the musical pep of “Should’ve Been Me” seems far too peppy for the message it attempts to put out. Part of why it doesn’t succeed is where it sits in the album—right next to one of its quietest moments. The transition from “There’s Nothing Left For You” to this makes for a jarring listening experience—and not in a good way.

TRACK 10: “I Guess” – 7/10

“I Guess” should have been the album’s closer. A haunting refrain soundtracked by strains of muffled pianos, Mitski’s vocals reach their fullest potential in this second-to-last track. The production only adds to the “swimming in a lake at night” atmosphere—it’s a beautiful song.

TRACK 11: “That’s Our Lamp” – 5/10

It’s a shame that this is what closes off this album—the worst song, in my opinion. “That’s Our Lamp” is a strange attempt to create an 80’s-esque pop song, but although the music reaches some crescendos, it’s another instance where it feels as though Mitski is restraining herself vocally. The combination makes for a jarring song and a disappointing album closer.

Mitski's 'Laurel Hell' confronts the wild complexity of feeling : NPR

I averaged out all of the song ratings, and it came out to about a 6.7. That feels accurate for the album—I would still consider it an alright album, but there were songs that dragged it down too much. However, there were some hidden gems in the mix, and those are ones I’ll be sure to treasure. I don’t regret listening to the album, but it wasn’t Mitski’s best.

Review: Mitski - Laurel Hell | RANGE

Since this post is an album review, consider this whole post today’s song.

That’s it for this album review! Have a wonderful rest of your day, and take care of yourselves!