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

Top Albums of 2023

Another fantastic year of music is now behind us. From rising stars turning heads to established stars making triumphant returns, fans of most genres were rewarded with compelling and impressive releases and projects in 2023. Although I listened to many, many albums in the past year, there are some that I find myself returning to the most and will continue to for years to come. Before diving into what made my top albums of 2023 so special to me, I’d like to acknowledge some honorable mentions that just missed the cut. These include: Quaranta - Danny Brown, the record - boygenius, This Is Why - Paramore, Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) - Yves Tumor, and O Monolith - Squid. All of these were fantastic albums, but there were too many more impressive projects to let them be immortalized in my best-of list. Without further ado, here are my top albums of 2023.

10. Haunted Mountain - Buck Meek

When a member of indie supergroup Big Thief announces a solo project, fans are in for a treat. Guitarist and backup vocalist for the group Buck Meek released his third album in 2023 to high critical acclaim. This alt-country, indie folk project has an alluring and welcoming tone throughout, channeling memories of simpler times and recounting the joys of getting safely lost in the world and in life. This project’s title track was one of my most played of last year, and songs like “Secret Side” or “Lullabies” are too heartfelt to be forgotten.

9. GUTS - Olivia Rodrigo

Olivia Rodrigo knocked her sophomore follow-up out of the park with GUTS in 2023. The release of her debut studio album SOUR set an extremely high bar for such a young artist, but this release put any doubt to rest with its angsty, punk-inspired pop often outshining many of the tracks from the project that put her on the map. From the lead single ballad “vampire” to earworms like “bad idea right?” and “all-american bitch”, this album knows exactly what it wants to do, and it does it well. I’m excitedly looking forward to the GUTS World Tour this Summer.

8. Weathervanes - Jason Isbell

Jason Isbell’s ability to write and sing from the heart is unmatched in his genre. Increasingly poetic and sophisticatedly beautiful, his albums continue to impress — particularly last year’s Weathervanes — one of his best in years. These are some of the most haunting and devastating songs in Isbell’s catalog. “Cast Iron Skillet” and “Save The World” are the two I return to most often, but the entire project makes for an excellent, albeit challenging listen.

7. Did you know that there’s a tunnel under Ocean Blvd - Lana Del Rey

Lana Del Rey’s continuous maturation as a singer and songwriter is increasingly impressive with every album that she releases. Ocean Blvd is likely her most evolved, elegant, and whimsical project yet, with almost every theme and sonic idea fleshed out and realized to its full potential. Each track develops naturally yet cautiously, eventually blooming into beautiful and memorable moments of their own. While some of the interludes seem superfluous to me, the core songs on this project are nearly flawless. “A&W” is one of my favorite songs of the entire year.

6. Desire, I Want to Turn Into You - Caroline Polachek

Rising art pop star Caroline Polachek flew under my radar before the release of Desire, I Want to Turn Into You. While I recognized her voice and had heard songs here and there from earlier projects, I had never committed to listening to an entire album of hers. I can now say that I was far overdue to give her the attention she deserves. Desire, I Want to Turn Into You is one of the greatest achievements in pop music in years. Each track is lush, ethereal, and surprisingly lyrically dense. “Welcome To My Island” is one of the best openers of the year, and the tropical aesthetics of “Sunset” and “Blood and Butter” keep me coming back for more.

5. Zach Bryan - Zach Bryan

Another rising star that I was only made aware of last year, Zach Bryan released one of the best country albums of the decade in 2023 with this self-titled powerhouse. Channeling the likes of Dylan, Cash, and Springsteen, Bryan’s nods to the genre’s roots are tasteful without registering as derivative in any way. The instrumentation is more Americana than it is Country Pop, which is a sound that I much prefer. This project has essentially been on repeat for me since its release, but “East Side of Sorrow” and “El Dorado” are the two songs I return to most often.

4. Lahai - Sampha

One of the greatest voices in R&B, Sampha, made his return in 2023 with the release of his newest album Lahai. Six years after his debut, I was very interested to see where Sampha would take his sound next, and needless to say, I was thoroughly impressed with how advanced his sound has become in such a short time. This atmospheric, hypnotic, and spiritual project has an incredible amount of complexity to its production, culminating in one beautiful song after another. “Spirit 2.0”, “Suspended”, and “Only” are some of my favorites here, but you can’t go wrong with any cut from this project.

3. That! Feels Good! - Jessie Ware

I sincerely believed that Jessie Ware would have trouble following up her fantastic 2020 album What’s Your Pleasure? after it set such a high bar for disco-inspired bangers. I was extremely delighted to be proven wrong by That! Feels Good!, which elevates the Dance Pop aesthetics she established to even greater heights. Playful, energetic, and uplifting, That! Feels Good! fires on all cylinders to get its listeners on their feet. “Free Yourself”, “Pearls”, and “Hello Love” are fantastic tracks, but “Begin Again” with its crescendoing finale is my favorite song that Ware has released yet.

2. SCARING THE HOES - JPEGMAFIA & Danny Brown

In a rather sparse year for Rap and Hip-Hop, JPEGMAFIA and Danny Brown stood out as the trendsetting gold standard of the evolution of a genre that has somewhat stalled in the mainstream. Experimental, brash, and aggressive, SCARING THE HOES is both self-aware and referential with its humor but direct with its messaging. This project will likely be looked back on as an inflection point that allowed chaotic, eclectic underground Hip-Hop as a whole to finally find major mainstream success. “Lean Beef Patty”, “Burfict!”, and “Kingdom Hearts Key (ft. redveil)” are some of my favorite tracks on this album. This could’ve easily been my favorite album of the year if it weren’t for the triumphant return of…

1. Javelin - Sufjan Stevens

In August of 2023, Sufjan Stevens announced that his 10th studio album Javelin would be releasing in October. Immediately deemed an “indie emergency” online, the anticipation for this album was off the charts, as Stevens has established himself as an indie darling with now classic projects like Carrie & Lowell and Illinois. I could have never prepared, though, for the emotional reckoning that Javelin would cause. After the project’s release, Stevens revealed that in many ways, it was an ode and memorial to his partner who passed away. This re-contextualizes the entire project as one of loss, sorrow, and melancholy, but ultimately reminds its listeners to hold onto what they love dearly and continue to search for beauty in the darkness. Some of the best songwriting in the decade is found on the project, with heartbreaking ballads and cutting lyricism throughout. This incredible album spoke to me on a personal level, and was an easy pick as my favorite of 2023.

I absolutely love music. I always have. The albums that make my favorites lists are just some of the many projects that I almost always have in my ears. Re-visiting these projects transports me to where I was in life at the time of their release and my discovery of them. Every artist on this list is immensely talented, and I’m grateful for the art they give to the world. I look forward to what music is to come in 2024, but am more than happy to continue listening to these projects in the meantime. They are all so, so special.

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