But the album gives the impression that Antonoff wasn’t sure how to engage fully with Maguire and Strayer’s exemplary skills with traditional acoustic instruments.A dark vision of the individual’s role in society is given voice by frontman Joe Casey on “Bridge & Crown”: “Everybody knows/We’re holding on to little dreams/To drive our bodies down the line/Until there’s nothing left.” The band’s catalog is strewn with such musings about life as a fulfillment of a disappointing fate, and they’ve perfected that obsession here.
The special effects-heavy clip finds the singer climbing inside a dusty upright piano and into a moss-covered fantasy world, tinkling the ivories of an overflowing grand piano at the edge of a CGI waterfall. By.
Listening to him nail a verse, phrase by phrase, strangely always seeming to fall into brilliant metaphors while struggling for breath, is an exhilarating experience.This approach renders the wailing and assaultive crescendos of their music that much more potent.
In his best moments, Pop Smoke was able to channel his untamed aggression into repetitive, elemental lyrics that were colored by his force of personality (such as “Dior,” which has been tacked on to all three of his releases, including this one). After Tha Carter II came out, I officially became a Wayne fan. Is it a T-Pain-aping Auto-Tune future-hop record, as the singles advertise? When Tha Carter III dropped it seemed like Lil Wayne could continue the series forever and it would warrant our attention for just as long. For another, the album has a bit of an identity crisis.
As for the titular sweater, it apparently serves as a metaphor for an artist whose love life bears the marks of more than a little wear and tear: “When I felt like I was an old cardigan under someone’s bed/You put me on and said I was your favorite.”While the album sounds current for 2020, there are a handful of moments that suggest how much more strongly Antonoff could have leaned into the Chicks’s previous style. She’s quick to provide counsel to herself and outright plead with her lover on “Paper Thin.” Her vocal floats, at times on the verge of cracking from emotion, atop harp-like fingerpicking: “Baby, you gotta run free/Please don’t forget about me.” La Havas leans into the heartrending grief of prematurely losing a relationship.The band’s first album in 14 years is steeped in personal and political rage.It’s not for a lack of quality control, as almost all of the songs here are good. La Havas’s voice is rich and robust as she belts, “I’m not crying over you/When I cry/Now I’m free.” She attains catharsis by providing herself refuge and realizing that she can heal herself. The beats more than make up for Wayne’s rhymes that are just too far out there, serving as a compass for an album that could roam in any direction lyrically. On “For Her,” Antonoff layers one of Strayer’s finger-plucked banjo figures into an arrangement that explodes into a sing-along gospel chorus, while Maguire’s fiddle adds a jarring, ominous tone to the instrumental outro of “March March.” When working with a vocalist as powerful as Maines, the impulse to foreground her performances makes sense—and it’s worth noting that “For Her,” “Julianna Calm Down,” and “Set Me Free” are among the finest performances of her career.
After all, she once opined, “Why don’t you be the artist and make me out of clay/Why don’t you be the writer and decide the words I say?” with little-to-no self-awareness on 2010’s “The Writer.” Here, she gestures toward self-love on “New Heights”—“Love without someone else feels right/Love for myself in this new light,” she sings—and the not-so-subtly titled interlude “Ode to Myself.” Yet, these attempts at thematic course correction feel bland and repetitive, and the red-flag relationship dynamics persist, such as her desire to conform herself to her lover’s identity on “Tides,” blithely relinquishing her own agency.Every element of the album is so richly defined that these songs can’t help but pop.But the Beths are, perhaps, at their best when they’re at their breeziest. Read honest and unbiased product reviews from our users. Lead singer Elizabeth Stokes eagerly bursts into a brilliant falsetto to deliver the song’s caffeinated chorus. The album externalizes the workings of a tortured mind, one whose only semblance of hope, as evoked on the final track, “Worm in Heaven,” is a basic acknowledgement of existence—of having been alive and leaving a trace of that presence.On the tracks that explicitly relate to her divorce, which is a full three-quarters of the album, Maines dispenses with the idea of a narrative remove.
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