Takes an obvious cue from city pop - a Japanese style of music and art that embraced western elements following their post-war economic miracle - and is all the better for it. The first half of the song honestly sounds like it could be transcribed for The Real Book, and true Eilish fans should be unsurprised she has the vocals to match. Easily my favorite of her post-album material so far.

Like every album of hers, it suffers from having too many songs, but still plenty of good ideas. Some songs are meandering but nothing is as objectively bad as the cringiest parts of Reputation and Lover.

Feels weird to say this, but one of the most direct comparisons I can think of is Miley Cyrus & Her Dead Petz, since it follows a similar "hook-averse project that will be labeled as 'indie' despite being released by a major artist signed to a major label" path. Unlike Petz, ... read more

Guess it's time for me to come out of the closet as someone who likes this album.

ABSOLUTELY it is overblown and the final four songs could have been cut entirely, but there's a lot of charisma across the whole thing. Even the world's most on-the-nose Lana Del Rey impersonation on "Miss Americana & The Heartbreak Prince" can't distract from it actually being a decent song (not to mention repurposing the "backing vocal sings the most important lines" trick that made ... read more

Renders "Lawd Jesus" superfluous since it improves on just about every element of that song. True slurpers know that she's not reinventing her wheel at all, but the more amped-up delivery is never unwelcome, and saturating her Spotify with content that will help convert folks who still only know her as the "hump me fuck me" girl can only be a good thing.