By Mahnoosh Arsalan
Staff Writer
Graceful composition, silky vocals and gut-wrenching lyricism come together to form Mitski’s brand new album “Nothing’s About to Happen to Me.” With occasional messy and loud singing with heavy drums and disorderly guitar, Mitski reminds fans of her glorious roots with this return to music.
The album epitomizes the transition from winter to spring, with lyricism that encapsulates the sad nature of winter. Then, Mitski’s implementation of acoustic guitar, violins and organs brings elegance to the music, creating a whimsical environment for listeners. This album makes one yearn for green grass and the sun beating down on their face as the snow slowly melts away.
Introducing the album is “In a Lake,” a peaceful anecdote on the struggles of smalltown life. Mitski’s ability to romanticize a lake as well as big city life is incredible, urging the listeners to leave all their belongings behind and backstroke in a lake for eternity or move to a big city and start over.
Track 2, titled “Where’s My Phone?” serves as the beginning of the album's angst. Mitski is continuously asking the titular question while simultaneously telling an angry tale. This song highlights the mind-consuming feeling of frustration; having so many things on one’s mind, along with the minor inconveniences, like not being able to find one’s phone. Mitski wishes her mind was a “clear glass with nothing going on,” emphasizing her need for a break within her own life while also relating to her listeners.
Following “Where’s My Phone?” is “Cats,” a simple song with profound lyricism exemplifying the difficulties of growth within two people. Marking the potential end of some sort of relationship, Mitski’s comparison of cats to someone close to her truly captures the beauty behind how hard it is when someone grows to leave.
“If I Leave” is classic Mitski. Somber instrumentals and soft silky vocals until it isn’t. A common trend within Mitski’s catalog is the destruction of her music towards the end of a song, and she brought this trend back excellently.
“Dead Women” and “Instead of Here” carry instrumentals so lovely and quaint it almost makes listeners disregard the lyrics – dark, painful and relevant. “Dead Women,” a brutal discussion on women’s autonomy and “Instead of Here,” a tale on self-isolation and instability, both fulfill Mitski’s mission of hitting listeners where it hurts most while wanting to skip around and lay in flower-packed fields.
“I’ll Change for You” is an agonizing track on self-torture for one’s affection. The inability to move past a heartbreak can be tumultuous and self-deprecating, which Mitski presents perfectly. Following that is “Rules” which quickly switches the atmosphere. Mitski tracks the changes she yearns to make within herself and is backed by cheery trumpets and a fanciful French horn. From great heartbreak to uncertain determination, Mitski vulnerably invites her listeners into her mind.
“That White Cat” brings us back to Mitski’s heavy bass and haunting vocal roots. A song filled with anticipation, listeners are left at the edge of their seats. “Charon’s Obol” contradicts that completely with a beautiful, 70s inspired organ, as well as an incredible orchestra. This song ensures Mitski’s title as a legendary songwriter, bringing alive a captivating story for audiences to invest in.
“Nothing’s About to Happen to Me” closes with “Lightning.” Noting the ethereality of death, rain and independence, Mitski goes out with a bang. Heavy guitars mixed with synth, the album is over.
Mitski brings beauty to every project she works on, but “Nothing’s About to Happen to Me” is special. This album is exquisitely charming and well made, deepening listeners' love for her music. With a voice that needs to be heard, Mitski sets the tone for this year in music.
