The six-year wait is over; now she is going to deliver after the anticipation has built. Having gone from indie darling to opening for Taylor Swift, things have changed since her last album. It is weird to think she is now playing arenas while making the kind of space-age folk that she opens this album with. It's delicate and surreal in equal measure. "Lost Boys" was the first song I heard from this album. It is a quaint pop song influenced by the crossroads where folk music and country music meet, but the production smooths out all the twang from it . Lyrically, it's pretty brilliant and one of the best mainstream songs to come out this year.
Not sure of the exact single cycle for this album, but it seems like "Kill Me " was next up as a single. The only reason it's relevant is that the singles are snapshots of the bigger picture of the audience she is seeking to provide a summary of who she is right now for. It is a rather atmospheric ballad. In many ways, the production of this album reminds me of Bon Iver. Another artist who shares a Taylor Swift connection. I think this is as ambent as she should get while still preserving the structural integrity of her songwriting. Anything less tangible is going to float off. Though this song finds a dynamic that hooks it in as it builds by the end.
If you were going to weigh this against another pop album like Charli XCX, it would be hard to even compare them as this is so atmospheric and abstract in comparison.It works off emotionally fragile melodies rather than beats and hooks. Some of these moments could stand to have more of a pop backbone, but I am trying to appreciate it for what it is. "Bobby" does offer more to sink your ears into and brings a great deal of what she learned in Boygenius to the table. The drums are more present and give a rock layer to things. It is a very lush arrangement.
She is the lighter side of the spectrum, with Ethel Cain on the more experimental other side. Here is wistful hope in the introspection conveyed on a song like the title track. Things do take an odd turn on this song, almsot like "Hounds of Love" era Kate Bush. "Haunted" crosses all the way over into country music. There is a more surreal transition from this on "Panorama," which is a more experimental soundscape interlude than an actual song, until two minutes in, when her vocals come in.
"Still Standing" has a more delicate vocal. That finds her at just above a whisper and close up on the mic. There is not as much to hook you in as it ebbs and flows, though the vocal melody is strong and honest enough to hold it together. There are 16 songs on this album, so nothing really sprawls out, which plays to her benefit as less is more in that regard with the pop-tinged nature of what she does. Her more indie folk side comes back to life on "Liberty Tree' which has country flirtations. This continues on for "Never Going Back" which, for her, does not feel likes he fully fleshed out the song but was working off an idea.
The ghost of a vocal melody floats more than it possesses the kind of form or function that would make it a song. Her vocals remain hushed on "I Can't Wait" but still hold the song together. She sings about being California sober. Cameron Winter from Geese lends his voice to the song.ON "As Above' she proves she can make a ballad dynamic and not jsut whispered ambiance. I will give this album a 9.5; it finds her drifting into experimentation, but she writes enough solid songs to balance this out.
There are albums I measure an artist by. For this band it's "Trouble Will Find Me". Up to this point it feels like the band has not tapped into the same depth of feeling. That has changed with this album. The vocals are more memorable and melodies weave complex webs of melancholy around everything. Granted this album has nothing really to do with Frankenstein like the title suggest. Instead they have written some thoughtful songs, that are introspective , but still go somewhere. Matt's sullen baritone remains understated but with impeccable phrasing as the lyrics bounce off the music around him. Sufjan Stevens contribution of harmony vocals to the opening track, sits back in the mix. They indulge the kind of musings that play to their sonic strengths that border familiar territory without sounding stagnant.
Phoebe Bridgers joins them on "This Isn't Helping" . Her voice cuts through more than Stevens did. She feels like more of a working part of the song. They pick up the tempo to a marginally poppier pace for "Tropic Morning News". This album sounds great and it's impressive they produced it it themselves. "Alien" coasts along an easy going middle road, that makes me think kids today will feel this is like the Barry Manilow of their day. It lacks the offensive edge that makes rock music dangerous, and makes this to casually play in a suburban coffee shop. I can also hear how this sits sonically not far from say the War on Drugs, when the smooth guitar solo comes in. They are so flowing in what they do it is hard to fault them. "the Alcott" which brings in Taylor Swift, is poised to expose a whole new generation to a while new kind of music, though to be fair it is not far from what Tay Tay does on "Folklore". How could anyone not see this coming.
"Grease in Your Hair" required multiple listens before the subtlety of the writing caught up with me. The more folk flow of "Ice Machines" was another song that took time to sink in. Matt is singing up close to the mic in almost a whisper. There is more to the ballad "Your Mind is Not Your Friend" which Phoebe Bridgers returns for. Her vocals play a lesser role in this song. The pleading reflection of "Send for Me" hovers by with an intangible breeze of sound. I will give this album a 9.5, and see how it grows on me. The easy listening mood of the album brings heavy replay value, but there is a uniformity to the beige shades the songs are colored with.
Well Taylor Swift said these girls are her favorite new band, so I figured I would check them out. It also helps that at the center of this trio Phoebe Bridgers, who I am already a fan of. The first single I heard, was more dream pop than how this album kicks off. It is a little more indie rock on "$20". There is a hazy ambiance to what they do. "Emily I'm Sorry" feels almost like a Bridgers solo track. Lucy Dacus takes over on the smooth sailing of "True Blue". It hovers with a relaxed submersing it. "Cool About it" is not a Paul Simon cover, but it is so inspired by him it might as be well one. The harmonies are pretty airtight.
"Not Strong Enough" finds Bridgers rightfully moving to the forefront of the sound. This album is driven by stellar songwriting that leaves enough for all three women, and the project itself is supposed to show how they can work together without competing. Their sounds all blend in a very organic fashion and leave room, for everyone involved, Bridgers is just the most compelling presence, so she shines through. "Revolution 0" is pretty much just a Phoebe song. The other two come across more like backup singers. It seems to be about kicking heroin. Using headphones there is a wider depth to the layers of harmonies.
Dacus seems to be the second most powerful writer in this trio. "Leonard Cohen" is more of a folk song. It is not as urgent of a song. "Satanist" is most rocking song, so far but far from having a hard rock edge of any kind. It builds it's groove as it progresses. One odd thing about the album is that for the project to be focused on women creating without having to explain themselves, how heavily influence it is by male singers. "We're in Love" is clearly compelled by Jeff Buckley. Earlier in the album they made no bones about Paul Simon, and Leonard Cohen. I also hear touches of Elliot Smith sprinkled throughout. The Julien Baker penned "Anti-Curse" is more of a rocker, and by rocker I mean the desperation of 90s alternative music.
"Letter to an Old Poet" is softer more reflective ballad that might be about her relationship with Ryan Adams. There is something lyrical cutting about the tone . I will give this album a 9.5, for what they do it is going to be a hard one to beat, despite the fact the mood and focus of some of the more introspective moments hits the brakes a little hard at times, I will see how it grows on me with time.
There are 12 covers of this song, that is ridiculous. That is an entire album of people covering this. There are four really strong versions, the other eight are pointless. The first solid one is from Phoebe Bridgers. If you are regular reader of this blog then you know I am a fan, there are a couple people who also cover this that I am a bigger fan of, but she is one of the four best on here, even if it is not the most powerful vocal version. The version that follows is going to be the most recognized and get the most airplay it is also one of the best. It is from Miley Cyrus. Sure she shows her ass a lot, it is a nice enough ass, so i appreciate that but she can sing her fucking pantiles off, so should not be judged by how she carries herself in the public eye. She almost has an unfair advantage as Miley has been doing this song live for over a year. Se I told you , don't judge her. This might be the best version though one other version is neck to neck with her, we will get to it soon enough.
I love Depeche Mode, but Dave Gahan's version of the song sucks. There is no emotion or shit to it. Mickey Guyton, who is a big deal because she is a black country singer, offers up something that is like a sound track for a CW show or at least the dramatic conclusion, she doesn't come close to Mliey as is very generic. Speaking of generic Dermot Kennedy , goes through the motions in what might have worked on a show like the Voice, as he sings the right notes , perhaps too right with little balls. Chilean singer proves she is better at getting naked to shock people than covering Metallica. What works for Miley only works when you do it right. Russian pianist Igor Levit, is talented and does a good job with what does which is a solo piano version , but did we need another ?
My Morning Jacket's version works as they retain a firm hold on what they do, but you can tell what song this is , other artists tried to give their spin on these songs and it just did not work as well, they are also better song writers than those artists too, so there is that. Until the wimpy male vocals come in PG Roxettes version almost works. Darius Rucker's version is well Darius Rucker, who has been pumping out stale from the box radio trash since the 90s, so he has that in common with Metallica I guess.
Chris Stapleton is the only artist who rivals Miley's version, in both passion and vocal power. I wish he put this kinda feel into his more recent material. He simply kills this , this is only the second time I have felt it has been a tie. Oh yeah some lame bastard called Tresor sucks a dick while trying to do the song.
https://abysmalhymns.blogspot.com/2020/03/king-dude-full-virgo-moon.html
2-Phobe Bridgers- "Punisher"
https://abysmalhymns.blogspot.com/2020/07/phoebe-bridgers-punisher.html
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https://abysmalhymns.blogspot.com/2020/05/waxahatchee-saint-cloud.html