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: Billie Eilish - Happier Than Ever

Few debut albums receive as much acclaim and praise as Billie Eilish’s When We All Fall Asleep, Where Do We Go? did, as she won 7 Grammy awards and frequented the top of the charts for months after its release. That project caught the industry by storm because of its eery aesthetic, stellar production, and incredibly well-written lyrics. As unique and interesting as it was, the project also reflected Eilish’s shockingly young age with multiple pop culture references and sometimes playful delivery. Eilish’s notoriety and recognition has expanded exponentially since her debut, leaving many wondering which direction she would take for her sophomore album. Lead singles with a clearly defined new approach, subdued instrumentation, and matured subject matter set the stage for a rollout that took me completely by surprise. Completely different than its predecessor but with just as stellar production and sound, Happier Than Ever could understandably be called a step up for an artist who has already proven that she has what it takes to rightfully call herself an international superstar.

“Getting Older” is a completely different direction as an opener than “Bad Guy”, allowing Eilish to catch her listeners up on her mental state since her last release with piercing lyrics and honesty. Lines like “Things I once enjoyed just keep me employed now / things I’m longing for someday I will be bored of” are direct and succinctly reflect the existential realizations Eilish continues to make as she has more music industry experience under her belt. “I Didn’t Change My Number” takes more of a confident and braggadocious tone, as Eilish continues to express her growing confidence as a person and an artist. Finneas’s production shines this track, allowing his sister’s delivery to flow seamlessly with a minimal but hard-hitting backing instrumental. The abrasive production toward the end of the track keeps me coming back for more. “Billie Bosa Nova” is a sensual, understated track that depicts the story of a mysterious meetup. Eilish’s storytelling ability shines through here, which is a refreshing change of pace for a writer who often leans more on imagery than narrative. We’ve heard “my future” already, and luckily it fits very well into the tracklisting sonically and thematically. This track also allows Eilish to show her vocal range and control very well.

“Oxytocin” is an immediate standout that could’ve easily functioned as a great lead single for the project. The closest thing this album has to a club banger, this track is eery, moody, and uptempo in all the best ways. Eilish moves on to explore a more creative approach with “GOLDWING”, which is a two-part track that opens with the hymnal, choral delivery and religious imagery that transitions into a more hard-hitting song by the end of its brief runtime. “Lost Cause” was another lead single, and its slippery bass line is still completely addictive. The energy that the lead singles lacked is made up for by the accompanying tracks on this album, and that more understated delivery makes more sense in the context of the project. “Halley’s Comet” is a very emotional piano ballad that, along with the following track, gives pause to an album that is already moving full steam ahead. I’m a sucker for slower, introspective tracks, so while this may be too much of a downer for some, it’s luckily right up my alley.

“Not My Responsibility” feels like an interlude in the tracklisting despite its nearly 4-minute runtime. On this track, Eilish uses spoken word to confront the amalgamated collective of judgmental figures that have critiqued her as an artist and a person since she was a teenager. She directly acknowledges the “controversy” behind what she wears and how she looks, which I commend as a bold, confident, and necessary statement that applies not just to her, but to all women who are unjustly judged for their appearance and expression. Finneas then works his magic by transitioning this track effortlessly into “OverHeated”, which is another highlight (of many) here.

I thought that “Everybody Dies” would culminate in a more poignant message by its end, and while I enjoyed this track, I think that it could’ve been given more thought and attention. Perhaps this is just because all of its surrounding tracks are just so refined and impressive. The next three tracks are all singles, and all fit well together, especially as the impactful “NDA” flows triumphantly into the upbeat “Therefore I Am”. Finneas really knows what he’s doing, doesn’t he?

This album’s title track is quickly becoming my favorite piece of music Billie Eilish has released thus far. The two-part track mirrors the structure of Phoebe Bridgers’ “I Know The End”, which was one of my favorite songs last year. Eilish contemplates a failed relationship and how she has coped with it ending in the album’s first half, backed by simple acoustics. The second half of this track is simply astounding, as electric guitars pair with Eilish’s passionate and overcharged delivery. This track is so incredibly well-written and assembled that it makes me reassess Eilish’s ceiling as an artist, which now feels non-existent. Pair this with such a great music video, and you have a nearly perfect track. “Male Fantasy” is a wonderfully melancholic closer that allows Eilish to acknowledge the industry’s shortcomings and a male-centric society that she has had to continue to try to overcome as a young woman paving her own path. All in all, this is another great track on an already amazing album.

While the drawn-out rollout for this project left me slightly concerned with its direction, its actual release completely relieved any worries I had. Billie and Finneas have once again struck gold with their homegrown musical genius, proving that their debut success was anything but an anomaly. Creatively, Eilish is charting unnavigated waters at such a young age - and I can’t wait to continue to watch her growth as an artist. Her concert can’t come soon enough.

Favorite tracks: “Getting Older”, “Billie Bossa Nova”, “my future”, “Oxytocin”, “GOLDWING”, “Lost Cause”, “Halley’s Comet”, “OverHeated”, “Your Power”, “NDA”, “Happier Than Ever”, “Male Fantasy”

SCORE: 8/10

New Music Round-Up (Father John Misty, Drake, And More)

As you know by now, I enjoy writing about music very much. Whether I’m reviewing a new release, discussing my favorite albums of all-time, or talking about which artists I think you should look out for moving forward, music has become one of the central topics for this blog. In the past weeks, my schedule has been turned upside down as I’ve been packing for and moving into my apartment as my senior year of college nears. During this time, there have been some noteworthy releases which I’ve wanted to comment on but just haven’t had the time. Until today, that is. Let’s talk about some of the best and worst singles which have released recently.

Father John Misty - “To S.” and “To. R”

Since the release of God’s Favorite Customer in 2018, Josh Tillman’s fans have been desperately awaiting a new release from their favorite cynical indie folk artist. His live collection Off-Key in Hamburg and his covers EP Anthem +3 held me over slightly, but I was still looking forward to original work from Tillman. To contribute to the Sub Pop Singles Club, Tillman released two mysteriously titled singles which live up to his sound which we’ve come to know and love. “To S.” offers an empathetic message backed by a gentle string arrangement, and “To R.” mirrors this track in many ways. The lyrics on this track are slightly more ambiguous than is to my liking, but overall, these are satisfactory tracks from Mr. Tillman which will continue to hold me over until his next LP, which is hopefully coming sooner rather than later. SCORE: 7/10

Drake - “Laugh Now, Cry Later (feat. Lil Durk)”

It’s hard not to like Drake. While I’ve been very critical of his few most recent full-length album releases, it’s almost impossible to imagine the hip-hop and pop genres without Drake’s presence. Known for being able to release hit after hit, Drake has ascended to a level of popularity rivaled by very few in today’s musical scene, and it feels like he’s starting to grasp that fact. The accompanying music video for this single made me laugh out loud when I first watched it. Drake seems fully aware of his meme status, providing a solid single riddled with parody-like moments throughout. The Lil Durk feature here is brief and forgettable, but overall, I just have to respect Drake’s ability to continue his lore as an artist. SCORE: 5/10

Cardi B. & Megan Thee Stallion - “WAP”

When Nicki Minaj released her single and music video “Anaconda” in 2014, the internet went wild. While many of Minaj’s fans applauded her confidence and female empowerment perspective, others condemned her behavior despite their inability to criticize male artists who discuss the same subject matter regularly with little backlash. Unfortunately, six years later in 2020, not much has changed, and the reactionary gatekeepers of the internet are just as present and vocal as they were years ago. Here’s the deal: “WAP” is a fantastic track. Despite the fact that its clean version is still likely too dirty to be played on the radio, the unabashed feminist confidence from both Cardi B. and Megan Thee Stallion is simply inspiring. The track is a fun and memorable listen, and the music video released alongside this smash hit only emphasizes the statement of empowerment it makes. Great stuff. SCORE: 8/10

Billie Eilish - “my future”

It’s hard to believe that Billie Eilish nearly swept the Grammys following her 2019 release WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? earlier this year. The singles she has released since then have been massive hits which I’ve enjoyed thoroughly, particularly “everything i wanted”. On “my future”, we find Eilish singing from a more positive and optimistic perspective than ever before. After the reflections on such dark topics from her first album, its nice to hear Eilish sing from a better place over such an uplifting and catchy single. To add to this song, Billie’s performance at the DNC earlier this week was fantastic. Can’t help but continue to fanboy over Billie Eilish. SCORE: 7/10

Miley Cyrus - “Midnight Sky”

It’s unfortunate that Miley Cyrus has become such a polarizing figure and artist, particularly on the internet. While I haven’t enjoyed much of the music she’s released recently, I respect her artistic vision and willingness to discuss sometimes taboo topics so openly and honestly. Luckily, this 80s throwback “Midnight Sky” instills confidence in me that Cyrus will continue to develop personally and artistically, and that a new era could be around the corner for her. This is a solid single with huge radio potential and a killer self-directed music video, and I highly suggest you check it out. SCORE: 7/10

So there we have it: some of the biggest singles and tracks released in the past weeks have finally been discussed here on the blog. I’m hoping for new album releases soon, as I’m finally settling into my apartment, which includes my new speakers and record player which will be used regularly. Which of these tracks is your favorite? What kind of music have you been listening to recently? Let me know. Thanks for reading.

Award Season Recap: Absolute Dominance

The 2020 Grammys and Academy Awards have come and passed after months of speculation and predictions. These awards are increasingly becoming less popular, as television ratings have been consistently decreasing for them over the past few years, but they are still interesting to analyze, especially in such a unique year. In both ceremonies this year there were many records broken, and there was absolute dominance which I was happy to see. Let’s break it down.

Billie Eilish has taken the pop music genre by storm over the past year and a half, accumulating a loyal fanbase after the release of her 2019 debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?. Her competition going into the Grammys was stiff this year, facing off against celebrated artists such as Ariana Grande and Lizzo among many others. Despite this, Billie Eilish and her producer brother Finneas walked away from the ceremony with a combined total of 10 Grammys, an absolutely astonishing feat for such a young artist. I was very happy that Billie did as well as she did after enjoying her debut album as much as I did and still do to this day. I was also delighted that Tyler, The Creator won in the Best Rap Album category for IGOR, but I agree with his sentiment that he should be included in the pop category instead of being pigeonholed into a less competitive field.

I was very pleased with the results of the 2020 Academy Awards as well, as a lot of my predictions came true. Bong Joon-ho and Parasite altogether were absolutely dominant, winning Best Picture, Directing, Editing, and Original Screenplay. By winning the biggest award of the night, Parasite became the first foreign film to ever win Best Picture at the Oscars, which it absolutely deserved. Most of the other awards went my way, too, with the films I enjoyed most beating their competition in their respective categories.

I don’t let what I enjoy rely and depend on what wins at award shows. This year, however, I thoroughly enjoyed watching the music and cinema I enjoyed so much in the past year receive the praise it deserved in such an incredibly dominant fashion. Here’s hoping that 2020 brings just as much enjoyable media as 2019 did.

My Top 5 Albums Of 2019

2019 was great for music. As it comes to a close, it’s time to reflect on some of the best projects that were released throughout the past year. Today, I will be ranking and explaining my top 5 favorite albums released in the past year. Let’s get down to business.

Honorable mentions: thank u, next by Ariana Grande, Charli by Charli XCX, All My Heroes Are Cornballs by JPEGMAFIA, MAGDALENE by FKA twigs, Norman Fucking Rockwell! by Lana Del Rey

5. WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? by Billie Eilish: A breakout star whose popularity spread so rampantly that many thought of her as an industry plant, Billie Eilish is starting to cement herself as one of the best alternative pop artists making music today. The blood, sweat, and tears that she and her brother put into creating this wonderfully creative, dark, and revealing album becomes quickly apparent upon listening, and the replay-ability of this project is undeniable. I cannot wait to see which direction Billie takes musically moving forward, because her debut album was one of the best of 2019.

4. The Highwomen by The Highwomen: I never thought I would like a “country” album as much as I enjoyed this one. The four delightfully talented women who have assembled this blues supergroup released one of the most compelling albums of the year in their self-titled debut project. I found myself humming the choruses to these songs repeatedly and constantly reflecting on the heartfelt lyricism offered here. That lyricism is supported by astounding vocal performances throughout, and this album is jam-packed with very uplifting and positive themes while still heart-wrenching at times. Great stuff here.

3. Assume Form by James Blake: This album was one of my most-listened-to in 2019, and for good reason. James Blake is realizing his full potential as an artist, and the refined nature of Assume Form proves that he’s ready to take the next step in his musical career. Relatable themes, tasteful features, and incredible vocals make this project an incredibly enjoyable listen. Plus, he was great live when my girlfriend saw him locally in February.

2. GINGER by BROCKHAMPTON: While not as explosively braggadocios as the group’s SATURATION trilogy or their uniquely aggressive IRIDESCENCE, GINGER is just of compelling of a project for me as their others, if not more so. This project finally unpacks the departure of former member Ameer Vann, not holding back from sharing the emotional impact that his removal had on the rest of the group. This is as introspective as the boy band has gotten yet, and I’m here for it. Plus, this project is still full of the classic bangers that put these guys on the map in the first place. Again, they are great live and I highly suggest checking them out.

1. IGOR by Tyler, The Creator: They grow up so fast. All jokes aside, Tyler’s evolution as an artist and a person over the past few years is nothing short of awe-inspiring. He prefaced this album making sure his fans knew that this project would be nothing like any of his previous work, which was entirely accurate to say the least. This project is experimental yet immediately familiar, and Tyler’s unabashed emotional vulnerability and honesty adds to this album’s narrative beautifully and compellingly. He put on an incredible show when I was able to see him in October, and the production accompanied by the wonderful story-telling of this project makes it difficult to not call it a 10/10. It’s definitively my favorite album of the year.

The subjectivity of music and of art in general is what makes it so appealing to me. Virtually everyone’s opinions and tastes are different at least slightly, which is why I like to hear the rationale behind others’ favorite pieces of music, art, film, or any other medium. What were your top 5 albums of the year? Do you agree with my reasoning? Let me know. More coming soon.