By Antonio Machado Staff Writer It seems that whenever Billie Eilish pops out a new record, it ends up being a pop masterpiece, and her newest album, “HIT ME HARD AND SOFT,” is no exception to that. The album opens with “SKINNY,” where Eilish details her struggles with body image and coping with the pressures of fame over a bassline as dreamy as her voice. The track serves to set up some of the groundwork of the narrative structure of the 10-track LP alongside the orchestral motif featured in later tracks. The second track, “LUNCH,” is a tongue-in-cheek, sapphic pop-rock anthem. Eilish has been subject to a lot of public speculation about her sexuality, and she addresses the rumors in a very matter-of-fact manner on her chart-topping hit. “LUNCH” released concurrently with the album and served as its lead single. In an interview with Rolling Stone, Eilish spoke about not wanting to release any singles prior to the album’s release as she wanted to make an “album-ass album,” and she most certainly succeeded. The album begins to really dive into Eilish’s heart when we arrive at “CHIHIRO.” The track’s synths engulf you completely, drowning out Eilish’s vocals as she describes the uncertainty of love. Eilish makes a quick departure from her usual melancholic sound in the fourth track, “BIRDS OF A FEATHER,” to make a beautiful song about wanting to love ’til death do them part. The track quickly became a summer hit, undoubtedly due to its effervescent clichés delivered in the most enthusiastic ’80s pop. Eilish worked alongside FINNEAS, her brother and long-time collaborator, to craft this record. The dynamic duo have solidified themselves as staples in contemporary pop with their very clear artistic vision and knowledge - however, their work together can, at times, feel a bit monotonous. “WILDFLOWER” serves as the halfway point of the album. Eilish speaks about her fixation on her current partner’s ex, and she does so over a rather conventional guitar instrumental, allowing her vocals to take control. It is an effective track, yet somewhat forgettable in comparison to what follows. “THE GREATEST” serves as the album’s climax, both vocally and lyrically, converging the themes of Eilish’s struggle with her fame and a partner that refuses to put in effort. The track transitions from the usual whisper to a career-best belt from Eilish as it crescendos accordingly to her frustration in her relationship. “L’AMOUR DE MA VIE” begins as a jazzy breakup ballad where Eilish admits to lying about loving her ex-partner but takes a drastic turn sonically at its midpoint. She trades her guitar for some autotune and a wonderful hyperpop synth that assists in sprinkling in a few rightfully bitter remarks. The album’s conciseness is both a detriment and its strength. The few tracks that diverge from the record’s narrative structure stick out and feel pointless. The eighth track, “THE DINER,” takes Eilish back to her debut album with its ominous lyrics and instrumental that can only be described as haunted circus music. “BITTERSUITE” opens with a ceremonious synth that devolves into a more tropical dance synth before a long and rather gloomy synth. The meaning of the song is somewhat lost in its ambiguity, but it seems to tell a story of the downsides of desire. Riddled with references to previous tracks, the album's outro, “BLUE,” can be easily described as its best track. Eilish speaks to her ex-partner, talking about their similar upbringings yet clear differences as she transitions from pop excellence to a hip-hop verse that sounds as though she were underwater. Although “HIT ME HARD AND SOFT” has its weak points, the highs are demonstrative of an incredibly talented artist with a very clear future ahead of her. Eilish is undoubtedly on her way into becoming a legend and has already solidified herself as a staple in contemporary pop, and so I can’t wait to hear the next one. Rating: B+ Man, isn’t she the greatest?
Comments