If you’re a fan of indie music, you’ve heard of Mitski. The Japanese American indie music artist, whose full name is Mitski Miyawaki, is back into the limelight after her last album Be the Cowboy, was released four years ago. This album, Laurel Hell, released on February 4, marks her reemergence into the public after a three-year long break in 2019 and is the sixth studio album in her musical repertoire.
In regular Mitski fashion, Laurel Hell is a soundtrack of “transformation, a map to the place where vulnerability and resilience, sorrow and delight, error and transcendence can all sit within our humanity, can all be seen as worthy of acknowledgment, and ultimately, love” according to a press release.
In an interview, Mitski stated that the album title is in reference to the dense laurel bushes of the Southern Appalachians. “And, I mean, I’ve never experienced it myself, but when you get stuck in these thickets, you can’t get out,” she said, referring to an almost chilling and suffocating experience to keep in mind when listening to the album.
The album’s name and background are reminiscent of Mitski’s experience with being an artist. Her base initially surged in popularity with the release of Be the Cowboy in 2019, which became her first album to hit the Billboard charts. After touring the U.S. in 2019, she announced she was taking an indefinite hiatus. Mitski gained popularity again during quarantine when many of her songs went viral on TikTok. Mitski’s reemergence into the public after she almost quit music entirely makes the release of Laurel Hell even eerier as fans speculate whether this will be the last album and tour of her career.
Although the album takes a more upbeat, ‘80s synth-indie-pop approach, Mitski’s lyrical prowess still shines through. In contrast to the background beats, her lyrics can be interpreted as having a darker undertone. Mitski is known to employ a more experimental approach to her music, whether it’s in her performances on stage or in the progression of her albums over the years.
The album starts with “Valentine, Texas” with a title and opening rhythm bearing some resemblance to her older work. The element of Texas has fans, including myself, immediately thinking of Mitski’s iconic song “Texas Reznikoff” from her 2014 album Bury Me At Makeout Creek. Both songs even carry the same structural elements: they mark the first song on both albums, reference the state of Texas, and have a drastic sound change in the middle of the song. Possibly, Mitski is referencing her roots as an early musician, but in a way, she transitions from her past and into the present as she takes on another period of transformation in her life.
“Working for the Knife,” the first single released before the album, expresses Mitski’s sentiments about oppressive entities such as capitalism, with an interpretation that the knife represents her reluctance to keep producing music and satisfying the public. The next few songs carry the same upbeat synth-pop elements and dark lyrics, creating an unforgettable and rollercoaster-esque experience for the listener.
The halfway point of the album is marked by the song “The Only Heartbreaker,” one that, in my opinion, strays furthest from Mitski’s usual musical style. The lyrics, however, stick with her recurring themes, allowing listeners to sympathize with a character — perhaps Mitski herself — who makes too many mistakes in a relationship, often because they’re the only one trying.
The next song, “Love Me More,” is one of my personal favorites as it holds onto the catchy rhythm present in the album and serves as a great song to sing your heart out to. Two equally musically-encaptivating tracks follow “Love Me More” and then comes “I Guess,” the second to last song on the album, that is my favorite one out of Laurel Hell.
“I Guess” is haunting and reminds me of some of Mitski’s earlier work, which is why I personally love it. I think “I Guess” highlights Mitski’s beautiful voice and, though this is just speculation, may even hint at the ending of her career with this album. The album ends strong and upbeat again with “That’s Our Lamp,” a song that makes you want to dance, even if the lyrics are a little sad.
Mitski grabs the attention of indie music listeners once again with Laurel Hell, an experimental, upbeat album with a darker lyrical undertone that highlights her expertise as a singer and songwriter. Have a listen and if you enjoy it, make sure to check out Mitski’s other albums too!