Mitski Miyawaki’s rise through the indie rock ranks is the stuff of envy, even if she herself seems to be of two minds as to whether it should be. The 31-year-old’s most recent albums, 2016’s ̶…
Miyawaki’s rise through the indie rock ranks is the stuff of envy, even if she herself seems to be of two minds as to whether it should be. The 31-year-old’s most recent albums, 2016’s “Puberty 2” and 2018’s “Be the Cowboy,” earned spots on countless best-of lists, millions of streams, and TikTok meme-ification, thanks to an enthralling ability to locate unexpected wild emotions in gentle moments and deliver them in poetic yet memorable hooks.
In recent interviews, Mitski admitted that she wasn’t sure she’d ever return, and that “Laurel Hell” was in part prompted by her record label, Dead Oceans, reminding her that her contract called for one more record. But to reduce this album to obligation would be a disservice; some people hate flossing and avoid it at all costs until they’re reminded by their dentist that they have to do it, but that doesn’t negate the good feeling that comes with clean teeth.
The album opens on “Valentine, Texas” with an invitation to step into the dark. Named after a real town with a population of 134, the track spirals in a dust devil of isolation and identity. “Who will I be tonight? / Who will I become tonight?” she wonders coldly, her voice arched over a rounded synth patch.
If there’s a caveat to be had with “Laurel Hell,” it’s that too often Mitski feels resigned to sit in that pocket rather than reach for the sky. While she and longtime producer/collaborator Patrick Hyland add and subtract flourishes from the instrumental palette, the vocal tone rarely alters.
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