Mitski’s new album “Laurel Hell” is heaven to my ears
Sara Javerbaum, Staff Writer
On Feb. 14, Mitsuki Laycock, professionally known as Mitski, released her sixth studio album, “Laurel Hell.”Prior to the release of this album/promotions for the album, Mitski was presumed to have quit the music industry, as the highly anticipated album comes four years after the release of her last album, “Be the Cowboy.” This album does read as more commercial than fans are used to, showing a slight lack of passion compared to previous albums. However, that doesn’t mean “Laurel Hell” isn’t a great album. It touches on topics like sex and relationships, but focuses on Mitski’s inner monologue as she grapples with depression and discontent with her music career.
The concept of the album’s name, “Laurel Hell” derives from the story of laurel bushes. The flower bushes are known for trapping anyone who falls into them, killing many people. In an interview with “Pitchfork,” Mitski finds the beauty in this concept.
“And, I just, I liked the notion of being stuck inside this explosion of flowers and perhaps even dying within one of them,” Mitski explained.
The first track on the album, “Valentine, Texas” is very classically Mitski: an eerily calm ballad cut by a beat drop. It opens the album perfectly, showing that the songs on the album will be more intricate and more deliberate than previous releases. While slightly reminiscent of an earlier song of hers (“First Love/Late Spring”) due to the beat drop, this song is much more chilling.
Mitski tackles the uncertainty and unease she feels within her career in many of the songs on “Laurel Hell.” In “Working for the Knife,” Mitski seems to be exhausted by the endless loop of work required of a musician.
“I used to think I’d be done by twenty/Now at twenty-nine, the road ahead appears the same,” Mitski sings in “Working for the Knife.”
As mentioned earlier, Mitski tackles a lot of different subjects on the album, leaving many of the songs up to the listener’s interpretation. While some might find “Working for the Knife” to be a critique on capitalism, others think it references Mitski’s mental health struggles.
In an interview with “Pitchfork,” Mitski discussed her goals for the album.
“I needed love songs about real relationships that are not power struggles to be won or lost. I needed songs that could help me forgive both others and myself…We really needed something that would make us dance, that would make us feel hopeful,” Mitski said.
Mitski easily accomplished that goal with arguably the two best songs on the album: “That’s Our Lamp,’’ the closing song on the album, and “Stay Soft.” Though the melodies in both songs are bright and upbeat, the lyrics paint a different story. For example, in “That’s Our Lamp,”Mitski reminisces on the good times she had with a past lover and describes the previously-loving relationship breaking down. Mitski pairs these lyrics with 80s synth beats to create the illusion of an upbeat song.
“Cause you just don’t like me/Not like you used to,” and “We fought again/I ran out the apartment,” Mitski sings in “That’s Our Lamp.”
The mixed messages of the song display exactly what Mitski is trying to do with her album. “Stay Soft” utilizes the same technique in “That’s Our Lamp,” marrying dark and often disturbing lyrics with peppy melodies.
Whether Mitski releases another studio album or ends her musical career with “Laurel Hell” (It’s somewhat unclear what the future holds for Mitski), this album is just as versatile as the rest of her music. That diversity and honesty will garner new fans of Mitski long after the album’s release, making it both a perfect goodbye to a previous era and beginning of a new one.
Mitski posing on the cover of her new album in a combination of photography and drawing.
