Having no basis of reference for Laurel Hell is likely the best way to experience it. Mitski marks their sixth album release, and after a break away from the studio, hits back with this synthpop-heavy piece. An embrace of retrograde stylings presents a formidable experience, albeit a simple one, that utilises an eclectic mix of interesting forms. The results are shaky, different and rely on the experience Mitski has as a lyricist as well as a keyboardist. Underwhelming an introduction this may mark for those only just experiencing Mitski, there is a lot to like about this release, as scattershot as it may appear. Highs and lows rattled through with considered variety.
Valentine, Texas sounds as cold as it is simple, although the early introduction of those synth moments gives the album some sense of consistency. Those tones are extrapolated and improved on with the bombastic work of Working for the Knife, a massive track that entertains some broad lyrics and reflective moments. They are a clear highlight for Mitski on this latest track, a reflective piece that dips and rises in form. That second track is a delightful, mental drain, one that works best in isolation. It is the tonal shift from that immaculate piece to the pop-oriented simplicities of Stay Soft that mark Laurel Hell as a strangely jarring piece. Even then those jolly pieces are played out with momentary bouts of doubting optimism. A crashing, singular piano key focuses on a not-quite-right sentiment that Stay Soft does not fully realise.
Laurel Hell then is a particularly unfortunate piece. These are smart moments, articulate lyrical pieces that do not hit their tone quite as right as they should. Although the music videos that accompany these pieces do well to capture the tone, it is obvious that the music itself should be where the mood lies. Even then, there is a likeable pop function to Laurel Hell throughout. Each track either has a grand lyrical presence or an articulate mastering of keyboard strokes and synth-like production, but no track has both. Upbeat synth charms maintain themselves on The Only Heartbreaker, another highlight that comes more through impressive lyrics than anything else. There is such a brilliant explosion of instrumentals in the latter stages of this track. Again, those moments need to be connected elsewhere, they need to be constant and consistent. Love Me More hits that tone too.
Considering how productive an artist Mitski is, there is no doubt that Laurel Hell will be learned from and expanded upon. Very solid work throughout the eleven tracks featured throughout that just doesn’t match up to the pace of itself. Laurel Hell is an interesting album, a solid art pop piece that blends those synth charms and new wave structures in well with piano breaks and vocal intensity. A relatively tame final few tracks round out Laurel Hell as a vaguely interesting piece that depends more on the sincere broadness of Mitski’s scope and personality than anything else. Should’ve Been Me is as twee as it is jolly and forgettable. There are gifted instrumental moments, but they are fragmented and isolated from the pop riffs that channel through, and eventually find themselves trapped in a structured, simple feel.
