Album Review: HIT ME HARD AND SOFT - Billie Eilish

Three years after the release of her critically-acclaimed sophomore album Happier Than Ever and multiple Oscar-winning ballads, Billie Eilish faced a monster more terrifying than any of those she doodled in her famous teenage notebook — Writer’s Block. Her rise to stardom was a surge so sudden and seamless that some deemed it impossible to be anything other than an industry plant, and it eventually started to feel like swimming upstream for the alternative pop megastar. Billie isn’t afraid to share her fears that she could already be on her way out or that her 15 minutes of fame are up. Those same fears, and consistent collaboration with her musical mastermind brother FINNEAS, may have been exactly what pushed her to keep swimming and write her way out of a corner, culminating in Eilish’s third and most personal studio album yet, HIT ME HARD AND SOFT.

When Greta Gerwig set out to create her box office smash hit film Barbie, she did so with the intention of creating a genuine portrayal of the unique and singular experience of womanhood through one of the most nostalgic and feminist icons in American culture — the Barbie doll. Knowing that the film’s score had to capture and convey its seemingly simple yet devastatingly complex and relevant themes, she sought out Billie to contribute as one of the world’s most talented songwriters. “What Was I Made For?” resonated with so many people because it channeled womanhood in its most poignant and pure form, matching the film’s themes and tone perfectly. After the success of that track, Billie found herself struggling to create the same flowstate of productivity in the studio that she had with her two album releases prior. After countless attempts to capture that same lightning in a bottle feeling, she used the speak-from-the-heart approach that she did for Barbie to write the opening track “SKINNY” for HIT ME HARD AND SOFT.

The album’s stripped back ambient acoustic guitar and softly sung lyrical content help develop Billie’s new theme of opening albums with life updates; giving her listeners a snapshot of what has been on her mind since they heard from her last. “SKINNY” is an immediate tear-jerker that introduces the album’s narrative themes of loss, regret, new love, and self discovery. “LUNCH” is a perfect example of Eilish coming to terms with every aspect of herself — a no-holds-barred, innuendo-packed and lustful banger in every regard.

The following three tracks showcase FINNEAS’s ability to foster and hone in on Billie’s innate musical instincts. “CHIHIRO” may be a career highlight, with its crescendoing synths and guitars that build to the point of bliss. “BIRDS OF A FEATHER” is a beautiful ode to loyalty, commitment, and staying strong for others even when the going gets tough. “WILDFLOWER” also builds continually while outlining the messy and complicated intricacies of Eilish’s friendships and role helping navigating others’ failed relationships.

“THE GREATEST” and “L’AMOUR DE MA VIE” utilize similar songwriting structures by starting slowly and eventually exploding in their back halves. The first utilizes “Happier Than Ever”-like rock guitar instrumentation over some of Billie’s most ambitious vocal deliveries yet, and the second evolves into an 80’s synth-heavy bop so well-received by fans that Eilish released an extended cut of the track just days after the album’s release.

“THE DINER” and the first half of “BITTERSUITE” are where some of my criticisms of the album come to the forefront, unfortunately. The first reverts to the tonal aesthetics of her first album over what some are calling a “Luigi’s Mansion typebeat” — I love the internet sometimes — and while its perspective switch to the eyes of one of Eilish’s stalkers is a creative choice, its lack of sonic development makes it stand in the shadows of the tracks that come before it. The second is a narrative extension across songs, something Eilish does very well throughout this album, but its initially slow progression just fails to captivate me. That, of course, changes in the end when Eilish introduces the fan favorite and long-lost chord progressions of “True Blue”, an unreleased but idolized track from her early days of touring.

Now a combination of “True Blue” and “Born Blue”, “BLUE” is another album highlight, featuring self-referential songwriting that references every other song on the project. Its second half leaves things off on a more dark and mysterious note, setting Eilish up to take her musical career in any direction that feels natural to her and her brother.

While others have connected the dots on what fans are calling the ILOMILO theory, essentially that this project could be the first half of a potential double-album drop, I am completely content with HIT ME HARD AND SOFT being the product of Eilish’s hard work in escaping the beast of the void that is Writer’s Block. Of course I would be excited to hear more, as I love ambitious and fan-centric surprise artistry, but this is also more than enough for me. I thought there would be no better way to return to my blog after 5 months of inactivity than positively reviewing a genuine, incredibly-talented artist who learned how to swim upstream by creating lightning instead of catching it in a bottle. This is instantly a contender for album of the year, and I can’t wait to see where she goes next.

Favorite Tracks: “SKINNY” - “LUNCH” - “CHIHIRO” - “BIRDS OF A FEATHER” - “THE GREATEST - “L’AMOUR DE MA VIE” - “BLUE”

SCORE: 8.7/10

Album Review: Javelin - Sufjan Stevens

It had been nearly a decade since indie music legend Sufjan Stevens released a solo singer-songwriter studio album when he announced his 2023 return: Javelin. Before venturing into more experimental territory with albums like 2020’s The Ascension, Stevens found success sharing his impeccable storytelling skills with now classic projects Illinois and Carrie & Lowell. Not one to release an album just for the sake of doing so, Stevens instead releases reflections packed full of emotional revelation and catharsis for his fanbase to relate to. Javelin doesn’t divert from this formula; while this is an exciting and triumphant return for Stevens, it comes with a heaviness in the context of its origin. In its accompanying message, Stevens shared that he tragically lost a life partner earlier this year, and it quickly became evident that this project is an embodiment of his grief. His recent diagnosis of Guillain-Barré syndrome also shapes this project’s context — Stevens is navigating unimaginably difficult circumstances, but doing so with a musical beauty and intentionality in ways only he could. His most personal project yet, Javelin is an accomplishment in both storytelling and thematic resolution, and perhaps his best work to date.

The album’s themes and ideas resonate much stronger in the context of loss and grief, such as the opening track “Goodbye Evergreen,” with lines like “Goodbye evergreen / You know I love you / But everything Heaven-sent / Must burn out in the end.” Lamenting his fear, describing his circumstances as “poisoned pain,” and coming to grips with this new reality is his heartfelt way of setting the stage for what’s to come on this project. The following “A Running Start” turns back the clock to a more joyful time in Stevens’ life — the lovely beginnings of a relationship that celebrates the beauty of new romance and the sublime feeling of being in nature. The album’s turbulent dichotomy of emotions comes next with “Will Anybody Ever Love Me?”, a highlight on the project that eagerly and tragically questions if the narrator will be able to again recapture the love that he has just depicted and eventually lost.

“Everything That Rises” utilizes acoustic guitar and ethereal background vocals to elevate its many biblical and literary references. “Genuflecting Ghost” is a haunting and cascading ballad of communicating to a parted loved one. “My Red Little Fox” sees the narrator begging their lost love to visit them from beyond, to “kiss (them) from within … kiss (them) like the wind.” These tracks all effectively and chillingly develop a tragic narrative and aesthetic that acts as a through line for the rest of the project.

The album’s back half is just as strong and powerful as its compelling start. “So You Are Tired” is an all-time Sufjan track that creates a melancholic hole in its listener, carrying an emotional weight of relationship struggles unlike most songs I’ve heard attempt to do so. There’s a addictive and hopeful beauty to this song’s instrumentation that stands in stark contrast to its helpless lyrics. The album’s title track captures the essence of its core messaging: that those in relationships hold power in restraint over one another, and that the recognition of that ability to resist inflicting pain is both a necessary and terrible realization to face, particularly in relationships as true and complicatedly beautiful as Sufjan’s. “Shit Talk” expounds on these themes, reflecting on the intricate complexities of forgiveness, grace, and compassionate understanding of a partner’s shortcomings, especially when choosing unconditional love for them. “There’s A World” is a re-imaging of a Neil Young classic in Stevens’ aesthetic, serving as a hopeful and appreciative closer to an emotionally-complicated project.

There is beauty in struggle. Hard times bring loved ones closer together. Grief is real and unavoidable. On Javelin, Sufjan Stevens concisely and gorgeously reveals the intimate and unimaginably challenging details of his relationship with his partner, himself, and the world around him. Simultaneously a deep look into an artist’s psyche and a spellbinding, relatable, and necessary piece of art, Javelin is one of the greatest musical accomplishments about the beauty in grief and hardship in my lifetime. I wish Sufjan all the best and thank him for the magnificent art that he gives to the world.

Favorite tracks: “Goodbye Evergreen”, “A Running Start”, “Will Anybody Ever Love Me?”, “Everything That Rises”, “My Red Little Fox”, “So You Are Tired”, “Javelin (To Have And To Hold)”, “Shit Talk”, “There’s A World”

SCORE: 9/10

Album Review: Weathervanes - Jason Isbell and the 400 Unit

Country is likely the most divisive genre in all of music. While legends like Willie Nelson, Johnny Cash, and Dolly Parton are widely regarded as some of the greatest musicians of all time, many of today’s most popular country artists make headlines for the contrarian and conservative ideologies that constitute their overly simplistic songwriting. While many of the genre’s tropes are predictable and made for the masses, country music’s conventions and aesthetics can also enable artists to engage in incredible storytelling. A historian and adoring fan of the roots of his genre, Jason Isbell’s poetry and hard-hitting lyricism have elevated his music above the noise since he joined the scene. He has described each of his albums as a snapshot in time that captures his current mindset, and the maturity of both his sound and character have been evident with every release. Weathervanes is no different — on Isbell’s newest record, he offers some of the most intricately orchestrated and carefully crafted tracks of his entire career. His masterful storytelling, instrumental choices, and thematic cohesiveness makes this one of the most exciting albums of the year so far.

Each of this album’s lead singles are tasteful examples of all of the flavors it has to offer. “Death Wish” gnashes and grapples with the devastating reality of navigating a relationship with an addict. “Middle of the Morning”, born from the pandemic, explores the existential dread of cabin fever that lockdowns forced on us all. “Save the World” directly confronts the tragedy of school shootings, which unfortunately has to directly affect the way Isbell parents his daughter. “Cast Iron Skillet” creatively and expertly uses common Southern idioms to highlight the backward, brainwashing ideologies that Isbell was taught justify the injustices he saw in the world. Highlights from the project in and of themselves, Weathervanes’ lead singles are complemented by the rest of the album’s tracklisting.

As previously stated, Weathervanes is made up of some of Isbell’s biggest songwriting accomplishments to date. “King of Oklahoma” is a heartbroken and sprawling violin-backed ballad describing the shattered remnants of a failed relationship. “If You Insist” is a tragic track that features the most show-stopping lyrics from the entire album: “My momma spent every day alone / In a house of noise and names / She got so tired putting out fires / She just laid down in the flames.” That line is so effective and chilling that it still gives me goosebumps every time. “White Beretta” narratively recalls Isbell’s experience with navigating an unplanned pregnancy with a previous partner — one of the project’s most understated yet poignant and important political statements. “Miles” is an epic, 7-minute long journey that morphs and evolves over its long runtime, serving as a perfect closer for this album. While not every track here hits its mark, a vast majority are very strong and others are some of the best in Isbell’s discography.

The unclear direction of tracks like “When We Were Close” and “This Ain’t It" left me wanting more from ideals that didn’t feel fully fleshed out, but these shortcomings were more than made up for by the rest of this fantastic project. Jason Isbell’s perspective is a unique and important one in country music — his Americana roots and poetic lyricism are better than any in his field, and Weathervanes may just be his best album yet.

Favorite tracks: “Death Wish”, “King of Oklahoma”, “Strawberry Woman”, “Save the World”, “If You Insist”, “Cast Iron Skillet”, “Volunteer”, “Vestavia Hills” “White Beretta”, “Miles”

SCORE: 8/10

Album Review: That! Feels Good! - Jessie Ware

Before the release of her 2020 album What’s Your Pleasure?, English singer-songwriter and international sensation Jessie Ware almost stepped away from making music. Citing a lack of momentum and stalling of her creative process, Ware nearly retreated to the comfortable but modest confines of family life, leaving behind a fandom that saw the potential in her that she did not yet see in herself. After the release of What’s Your Pleasure?, however, it became clear that Ware’s passion for disco-inspired dance anthems and soulful ballads resonated with an even wider array of listeners across the globe, as this project quickly became her most commercially successful and critically acclaimed. Her newest album That! Feels Good! has released three years later, and this highly-anticipated project is a very natural continuation of the sonic landscape that Ware has been developing for some time. Cohesive, uplifting, innovative, camp, and just downright groovy, That! Feels Good! is not only one of the best dance records in recent memory, but one of the best records in recent memory altogether.

Always accompanied by her supportive team, Ware made sure to include her loved ones and collaborator in the opening title track’s self-referential and communal introduction. Backed by a driving bassline and sensual lyricism, Ware sets the stage well for what’s to come in the rest of the tracklisting. “If you’re going to do it, do it well (That’s the only way I do it)” is repeated throughout, and Ware proceeds to walk the walk of this philosophy on following tracks. “Free Yourself” was the project’s lead single and carries its contagious energy onto the album rollout. Its high tempo, encouraging lyricism, and spotless production make this a standout on an already impressive project. “Pearls” was another that teased this album with smooth production, playful lyrics, and killer belted vocals to round things out. Ware worked with Dua Lipa’s production team on this track, which is evident upon hearing its glistening and dynamic instrumentation.

“Hello Love” is a breather on the tracklisting, utilizing Jazz-inspired production and instrumentation. Ware is no stranger to a love song, and this fits very well into her discography as it channels pastel summer skies and electric butterflies. “Begin Again” is next and may be my favorite Jessie Ware song of all time after repeat listens. Discussing self-acceptance, rebirth, purpose, and introspection, this track touches on some of my favorite themes. The track continually builds and develops, eventually crescendoing into a climax larger than life itself - bigger in scope than anything Ware has attempting before and gracefully sticking the landing. “Beautiful People” is another electric track that encourages us to seek and appreciate the beauty of those around us, particularly in an often ugly world. There is an escapist quality track that serves a daydream or reminiscing of a time of partying long ago.

“Freak Me Now” is an unapologetic club banger that doesn’t rely on traditional songwriting structures, instead pulling directly from French house influences and practically begging to be played in clubs around the world. “Shake The Bottle” is a melodramatic and performative camp track easily likened to Ware’s “Ooh La La” that uses a narrative full of innuendo. While the following “Lightning” is a slow jam and change of pace that’s done generally well, it lacks the indescribable energy found in the rest of the tracklisting. Finally, the album’s closer “These Lips” is just as much an invitation as it is a promise — just because the project, the party, or the era is over doesn’t mean that the fun has to stop or that there isn’t another around the corner. Ware’s refrain of “These two lips can do so much more” is a sensual confirmation that her songwriting days aren’t coming to an end, but that this may just be the beginning of her resurgence and development as a world class artist.

Jessie Ware’s two most recent projects, What’s Your Pleasure? and That! Feels Good!, are a reminder that dreams should never be let go of. Ware almost gave up her calling, but instead chose to continue pursuing her art and blessed her fanbase with two incredible projects and a lifetime of music yet to come. Glamorous talent on full display, That! Feels Good! can brighten up the darkest days. This is one of my favorite projects so far this year, and I can’t wait to watch her reach even newer heights in the future.

Favorite tracks: “That! Feels Good!”, “Free Yourself”, “Pearls”, “Hello Love”, “Begin Again”, “Beautiful People”, “Freak Me Now”, “These Lips”

SCORE: 9/10

Album Review: the record - boygenius

One of the most fascinating phenomena in all of music is what has been colloquially coined the “supergroup.” Many of these ultimate collaborations work well on paper, consisting of likeminded and sonically-similar artists coming together to create projects larger than the sum of their parts. In some instances, however, the culmination of superstars can lead to a “too many cooks in the kitchen” effect that actually detracts from the individual elements that brought each artist to stardom in the first place. boygenius, made up of heartfelt singer-songwriter Lucy Dacus, moody and confessional singer Julien Baker, and indie sweetheart and heartbreaker Phoebe Bridgers, is the latest attempt at an alternative collaboration that is natural both because of the members’ friendship and their similar sounds & subject matters. the record is the long-awaited debut album from the group following their critically-acclaimed 2018 self-titled EP.

The new project opens with a harrowing and contemplative a cappella track “Without You Without Them” that demonstrates the trio’s natural harmony with one another. On this track, the supergroup ponders the difficulties of life if they did not have one another — an uplifting track to kick things off. The following three tracks, “$20”, “Emily I’m Sorry”, and “True Blue”, were released as a pack of singles months before the album’s release and continue to serve as highlights now that the record has arrived in full. Each artist gets to shine on this three-track run; Baker’s punky lead vocals define the electric “$20”, Bridgers’ plucky acoustics and ethereal vocal effects pair incredibly well with the vulnerable subject matter of “Emily I’m Sorry”, and Dacus’s incredibly-written exploration of unwavering and unconditional love defines “True Blue”.

“Cool About It” depicts a deteriorating relationship over a country-inspired acoustic backing guitar reminiscent of Plain White T’s “Hey There Delilah”, but lacks the staying power of some of the other tracks here. “Not Strong Enough” served as the fourth and final single leading up to the project’s release, and remains my favorite on the album, with thought-provoking and devastatingly relatable lyricism that culminates in the entire group harmonizing effortlessly. “Revolution 0” has a difficult act to follow, but unfortunately it doesn’t seize that opportunity as well as I would like, coming off more as a Punisher B-side leftover that left me scratching my head.

“Leonard Cohen” is one of the highest-potential tracks on the album from the title alone, but with a runtime under two minutes, this sounds more like the idea of a great hit than the execution of one. I enjoy what this song could’ve been had it not been so underbaked. Luckily, the following “Satanist” makes up for its shortcomings, serving as another major highlight and standout. Evocative lyricism regarding satanism, anarchism, and nihilism paired with a sick electric guitar riff and memorable lyrical contributions from each member, define and demonstrate what this group does best — rock the fuck out together. In the opposite vein, however, “We’re In Love” is the most heartfelt song on the album, with Dacus baring her soul with lyrics like “You could absolutely break my heart / That’s how I know that we’re in love.”

“Anti-Curse” is another mini-highlight, with Baker recounting and reflecting on a very real near-death experience she had at a public beach, and as impressive as this three-track run is, it feels more like a compilation than a proper album because of its lack of thematic cohesion and progression. We close with “Letter To An Old Poet”, a piano-backed ballad that serves as a rewarding final track that contains reference to one of the group’s most popular songs “Me & My Dog” that will likely bring many to tears.

the record is boygenius's attempt at achieving supergroup stardom, and it exceeds expectations in many ways. The group’s chemistry is undeniable, but each individual member’s contributions are both unique and essential to form a sonic aesthetic that hasn’t been achieved before. While some of the songs feel underbaked and don’t stick the landing for me here, the standout highlights are some of the best tracks released so far in 2023, and leave me hoping for a bright future for these three immensely-talented artists.

Favorite tracks: “Without You Without Them”, “$20”, “Emily I’m Sorry”, “True Blue”, “Not Strong Enough”, “Satanist”, “Anti-Curse”, “Letter To An Old Poet”

SCORE: 7/10