Faye Webster - I Know I'm Funny haha

a topic of discussion about faye webster’s fourth album title - ‘i know i’m funny haha’ - is why webster included the “haha”. the term’s inclusion can be a subject of debate, as its necessity seems arguable. as it turns out, this "haha" term’s use proves completely essential in the context of the title track; when webster dryly wavers over the “haha”, there’s a slight twinge; suddenly the whole song gets turned around: simply in the way webster vocalizes “haha”.

webster’s deeply honest, reflective “haha” is a bittersweet factor within the song’s atmosphere. it is an unexpected suggestion of irony. a hint of melancholy is vocally infused, and suddenly the listener’s takeaway from the first two verses of the title track - “i know i’m funny haha” - are contorted. the words’ meanings shift, and reappear hitched, almost malignantly. this is a memorable example of faye’s amounting talent as an artist and an organizer.

more than punches, ‘i know i’m funny haha’ packs punchlines. faye webster remarkably articulates vulnerability and amplifies listenership with dimensionality and emotional intelligence. whether there’s neon piano, factors of dream-pop, steel-pedal, country-influence, a mysterious quality of droning, brass, fuzz, or funk, the approach of coproducers faye webster and drew vandenburg is to combine different sounds and blends of art. it all amounts to a wonderfully fun collage of music.

the album 'i know i'm funny haha' displays skillfulness by utilizing the art of placement, instrumental dreaminess, foraying together many genres, and wise narration.

'i know i'm funny haha' is smart, concise, artistically interesting, and it contains vivid presentational choices. faye webster demonstrates that she is both an experienced musician and writer.

with a consistent and skillful progression of talent, it seems as though each album faye webster releases reaches a status of being "faye webster's breakout record”. this sentiment is particularly truthful in regards to 'i know i'm funny haha' as a whole, as webster sounds clearer and more realized for this project than any previous breakthrough, even ‘atlanta millionaires club’.

for the stunning album closer “half of me”, faye clearly draws influence from angel olsen in terms of vocal performance and guitar playing, and please place extra emphasis on the word "stunning": webster channels olsen's ‘strange cacti’ era while impossibly replicating olsen’s ghostly, haunting aura.

"half of me" has a vocal performance that is utterly enduring, enchanting, powerful, heartfelt, and trance-inducing; it is the emotion of a coalescation.

the spiritually-compelling audio recording of “half of me” is from faye's personal home, resulting to bareness. the completely acoustic audio composition "half of me" appears as what is likely its original demo version. "half of me" boldly ends the album, and it demonstrates the emotional potency that quality recordings can contain. "half of me" is a definitive music ballad, and it is piercingly memorable.