By Alexis Schlesinger Editorial Staff It has been over five and a half years between Chase Petra’s release of their first album - “Liminal,” and their second - “Lullabies For Dogs.” The long wait was more than worth it. “Lullabies For Dogs” explores topics of growing and changing, themes the band stated are essential to their purpose. “Centrifugal Force” opens the album. The song explores finding yourself after learning what you were taught growing up was false. Hunter Allen, the lead singer, tells us to consider she was “raised on a fairytale” that was repeated over and over - how could it be wrong? “Catharsis” explores becoming passionate to a fault, realizing you’ve idolized your pain as inspiration. Hunter can’t separate it from what they create. Now people can’t see her sadness as sadness, only the beautiful product. Chase Petra finally released a love song - “Two Nights in New York” gently tells us the story of Hunter falling in love. She sings, “I didn’t know we were falling in love / thought we were just dancing.” She describes the relief in finally feeling soft and loved. “Have Faith, Horatio” criticizes people who can’t unlearn toxic religious values. Hunter hasn’t gained anything from religion, but that doesn’t mean it’s worthless. You can find your place in heaven without “saving her,” though. One specific lyric, combined with musical technique, stands out in “Bread and Circus.” Hunter includes a run - consecutive notes (three or more) sung in rapid succession as a scale - while singing the lyric “run.” The song thematically covers feeling that your life is a performance you can’t get away from. “Icarus” is the shortest track. It’s the transition into the second half of the album. It builds tension hard in just 43 seconds, as we listen to Hunter’s existentialism on how things “can’t” be this hard. “Because I Am My Own Dog” is a heavy hitter with its metaphor of being a “bulldozer.” Hunter tells us to “look out” for the bulldozer, that “you don’t want to know her.” The implication being, she is the bulldozer. She is seen as combative, and that she attacks everyone who comes toward her. “She Simply Left” longs for certainty. The only answer some people can give to uncertainty is “maybe God is dead.” Allen tells us she thinks maybe “She” simply left. “The Needle” and “The Suture” combine to take us through struggling to let your childhood self go because it wasn’t nurtured properly. In “The Needle,” she explains the last time she may have been “whole” was summer of 2008 in her bedroom. “The Suture” follows up with the rebellion she explores trying to find herself, but it doesn’t heal her. “A Bug’s Life” follows, telling us that despite how harsh some reactions have been to certain people, Hunter doesn’t regret anything. Why don’t you go through it, then tell us how you’d react? “IWYTWT” yearns. The acronym expands to “I want you to want to.” Hunter wants her lover to want her despite her “brutality” at times. They can have her anyway they want, as long as they love all of her. The closer to this album is “Hospital Bills and Scratchers.” Hunter asks if we can hear her, and if we can see her. She knows she is one in a million, but could we still move with her? She might be running out of time, but she won’t slow down until you hear her. The final line in the song, and the entire album, concludes “Lullabies for Dogs” perfectly. “Can you hear me? I’m not done singing or screaming, I’m not-” The abrupt stop, seemingly mid-sentence, emphasizes her message that she is not done fighting to be heard. Chase Petra uses this album to explore the deepest, most vulnerable parts of us, and brings them to light with technical expertise and lyrical genius. Rating: A+ I will take part in this bone-breaking dance
