Laurel Hell: Mitski’s Final Hoorah
By: Benny Schorie
On Feb. 4, Mitski released her sixth studio album after a three-and-a-half year hiatus. Mitski has been on the indie rock/alternative scene for a decade and has made a name for herself as one of the most prominent queer artists of the 2010s (and of all time). This project has been highly anticipated since the release of its first single, “Working for the Knife,” on Oct. 5, 2021. Following the initial release, she has dropped singles monthly leading up to the album’s debut. The album contains eleven total tracks, including the four pre-released singles.
Mitski has been clear that this album is her last release, and the lyricism throughout Laurel Hell reflects Mitski’s mixed feelings about the music industry, her role within it, and its effect on her. Like the rest of her discography, the lyrics are evocative, emotional, and raw. Comparing her to any other artist, the writing of this album is pretty good. However, the lyrics of the songs are not as thoughtful as expected out of such a renowned lyricist.
A common theme throughout the album is an 80s-style synth instrumental which has made a comeback in recent years. This style of production makes the album very cohesive and differentiates it from other recent releases. However, the cost of this choice is that some of the tracks blend together. This may be to the album message’s benefit, though, as it bolsters the common theme across all tracks. It should be noted that the cohesion of an album does not determine its quality.
The album opens very strongly with the track “Valentine, Texas” which can only be described as an ethereal, transcendent piece with ambiguous lyrics that match the tone effectively. “Working for the Knife” follows. After its initial release as a single, this song already has a reputation for being one of Mitski’s best. The song utilizes unconventional, industrially-found sounds; its message is a clear commentary on living and getting older in a capitalist society as a slave to labor.
The majority of the tracks consist of upbeat 80s dance and synth instrumentals juxtaposed with dark, emotional lyrics reflecting difficult romantic relationships and Mitski’s struggles as a popular musician. “That’s Our Lamp” is the perfect final track with vocal layering to give the album an epic finish.
Overall, my favorite tracks off of this album are “Working for the Knife” and “The Only Heartbreaker.” These are the catchiest songs and stand out the most among the other tracks. The song that fell short for me was definitely “Everyone” as it did not live up to the quality of the rest of the album and Mitski’s discography as a whole. This album marks a final success for Mitski and an iconic moment for the music industry and music lovers alike.
Photo Courtesy: Variety