After a three year hiatus, Mitski returns with her sixth vulnerable and soul-wrenching studio album, Laurel Hell. With a refreshed new-wave 80s sound, and the return of her raw lyrics, Mitski provides us with an insight into how her rise in fame became a taxing experience that led to perpetual loneliness.

Laurel Hell kicks off with Mitski’s haunting vocals and a hazy organ in ‘Valentine, Texas’. As the beat and our hearts drop there is a transition to a beautiful synth instrumental. Being the opening song of her first album since 2018’s Be the Cowboy, and her return to the public eye after saying that her last tour would be ‘the last indefinitely’, Mitski sings: ‘Let’s step carefully into the dark / Once we’re in, I’ll remember my way around.’ As with all the songs in this album, it is unclear whether they are about a romantic relationship or the relationship between Mitski and her audience. I believe the latter.

"The ‘knife’ may be a symbol for a crushing force that once controlled Mitski’s life"

In ‘Working for the Knife’, Mitski sings of her career trajectory. Having initially enrolled in film school before pursuing a career in music, she addresses this in the opening lyrics: ‘I cry at the start of every movie’. With a tone of regret and introspection, this second track is bound to resonate with the masses : ‘I always thought the choice was mine / And I was right, but I chose wrong’. The ‘knife’ may be a symbol for a crushing force that once controlled Mitski’s life. Perhaps this force is external; a critique of the ever growing capitalist society surrounding Mitski. On the other hand, the ‘knife’ may be an intrinsic force, internally driven, that is inescapable. However, her recognition of this presence is a sign that she is finally ready to take it into her own hands.

Throughout this album, Mitski nails the 80s dance-pop sound, with ‘Love Me More’, ‘The Only Heartbreaker’, ‘Should’ve Been Me’ and ‘That’s Our Lamp’. The juxtaposition between the upbeat, synth-pop sound that makes you want to dance and the devastating meaning behind each song leads me to ask myself why we are drawn to heart-rending art. Perhaps it provides some catharsis for our own misfortunes. Either way, I’m glad to finally be able to disguise my ‘sad girl music’ with the deceivingly buoyant sound of Laurel Hell. That being said, in a recent interview, Mitski declared the quintessential ‘sad girl’ persona to be both reductive and tired. Having been pigeonholed in this role at such an early point in her career, it is no wonder that she is beginning to deviate from and resent this trope. Thus, Laurel Hell carries more nuance than her previous work, allowing space for the ‘sad girl’ to breathe.

Mitski’s career in the music industry began in 2012 and she was quickly recognised as the new face of melancholy indie-rock. With her rise in fame, like many artists, she became desperate for a break. ‘It’s time to be human again’ she tweeted. Mitski explores her rise in fame in ‘Everyone’, where she sings: ‘Take it all, whatever you want / I didn’t know that I was young’. A reflection of her youthful naivete, once willing to sacrifice herself for her success, she only now realises how taxing that was in the long run.

This burnout that happens after artists are thrown into the limelight has been seen before with artists such as Taylor Swift, who took a hiatus between 2016 and 2017 following a public feud with Kayne West. We all undergo burnout, however, it seems the music industry doesn’t allow for this universal experience, constantly expecting new releases, new images and dispensing endless criticism. It is no wonder that artists become unwilling to sell their souls in exchange for fleeting fame. ‘Shaving away my soul, little by little’ was how Mitski previously described her relationship with the music industry. The paradox between having to numb her emotions to deal with the copious attention and having to draw out that intensity to create music is ultimately unsustainable. Fortunately, her break from music seems to have revitalised her.

Looking forward, what does the future hold for Mitski? This album was released due to terms in her record labels contract, but will it be the last time we hear from her? In ‘Everyone’, Mitski sings: ‘Sometimes I think I am free / Until I find I’m back in line again’. It is hard to say whether her return is a continuation of feeding the capitalist machine fuelling the music industry or if she is ultimately being drawn back to music after being unable to shed her passion. No matter the reason, Mitski’s sold out tour kicks off February 17th, so, at least for now, she is here to stay.