The Land is Inhospitable and So Are We by Mitski | Album Review
Mitski returns with her most acoustic-orchestra-esque album yet, reminding us about the melancholy of human experiences through her stark, brilliant lyricism
“The best thing I ever did in my life was to love people,” she says. “I wish I could leave behind all the love I have after I die, so I can shine all this goodness, all this good love that I’ve created onto other people.”- via Mitski’s Official Website & Store
According to Mitski, this is her most “American” album yet.
I agree, as most of the elements align with what she intended to create. With her guitar being the star instrument of this album, swooning country melodies and arpeggiating organs follow suite to create a texturized, yet brutally honest atmosphere. She successfully encompasses all of her styles from the beginning of her career as a blooming music graduate, till now, as a globally known indie artist.
TL:DR: This is more like alt-country. Similar to Alex G, I’d say in terms of instrumental choice.
Tracks
Bug Like an Angel blew me away on my first listen. On so many levels. Gentle guitar strumming with a laid-back bass track along with Mitski’s soft voice telling a double sided story about alcoholism as well as religious undertones? Count me in. The sheer regret, emptiness and frank frustration expressed through the narrator’s words are great glimpse into the damage of alcoholism and instability. The choral vocals do a great job creating a mellow introduction to the album’s complex thematic layout, as will be discussed later in this article. All in all, it’s impactful, but the minimalism is what amplifies it even more.
Confidence shines on Buffalo Replaced. Mitski’s confidence takes center stage evident in her declaration that “Mosquitoes can enjoy me, I can’t go inside." She’s radiating a sense of empowerment as she roams freely without the constraints that typically restrict exploration.
Mitski’s confidence takes center stage, radiating a sense of empowerment as she roams freely without the constraints that typically restrict exploration. This unfettered spirit is underscored by her choice of words, which collectively create a rich and immersive narrative. Listening to this track is akin to stepping into a fast-paced Western saga of her own making, where every lyric and instrument played is a brushstroke on a canvas, painting the picture of a thrilling journey.
The backdrop of tambourine and looping guitar enhances the song’s cinematic quality, reminiscent of the evocative soundtracks that accompany classic Western films. These musical elements add depth to the storytelling, evoking images of expansive plains, galloping horses, and a sense of boundless adventure. Mitski’s clever lyrical craftsmanship captures the essence of a wild, unpredictable night-life, where possibilities abound and the world feels open to exploration.
There is a positive, adventurous outlook on the night-life on this track. It’s short, but it is sweet and sets the stage for the next track.
Despite the next song being titled Heaven, it talks about the complete opposite. Sure, the instruments would deceive you into thinking so, but the contrasting lyrics say otherwise. It’s a swaying country ballad at its finest that describes the hell of a dying relationship. The inneundos, such as:
All of our love
Fillin’ all of our room
and:
Now I bend like a willow
Thinkin’ of you
show the narrator’s ever-changing mind. Before her partner’s absence and after. Amidst the lush orchestration, she explores themes of longing and transcendence, inviting listeners to contemplate the profound beauty found in the ordinary.
Remember the time you had dark thoughts and felt like you would hurt the ones you love? Those moments you believed you were at your worst? I Don’t Like My Mind properly encapsulates some of those dark corners of the human mind. It’s a general theme on this album as well. Accompanied with stress eating and behaviour masking, these two serve as tools that aid the Mitski’s exploration of brutality of escapism. There’s also the fear of unemployment too, which is later shown at the close of the song. Loneliness lingers heavily within the mortal psyche, indeed. Mitski’s here to remind us of that.
The Deal carries lyrical echoes reminiscent of The Man Who Sold the World. However, there’s a twist in this narrative. Instead of treating the soul as a bargaining chip, Mitski’s narrator views it as an overwhelming burden. The weight of existence becomes too much to bear, leading her to long for an opportunity to give it all up entirely, as expressed in the lines,
“I want someone to take this soul, I can’t bear to keep it.”
This thematic departure from The Man Who Sold the World highlights the inner turmoil and despair of the original owner, whose soul has become an unbearable weight. The song’s intensity culminates with an intense drum break toward the end, while Mitski’s vocals echo out, underscoring the emotional depth of the narrator’s plea. In The Deal, Mitski crafts a narrative that, like The Man Who Sold the World, explores profound themes but with a unique perspective on the soul’s intrinsic value and its potential liberation.
Piggybacking off the intense tempo the previous song established, When Memories Snow moves towards more introspection and self-reflection. With more ethereal vocals, a trumpet, and a piano organ, Mitski beckons for a moment of contemplation. She contemplates her inclination to relegate memories to the far corners of her mind, drawing a parallel to snow accumulating and concealing a driveway. She vividly describes her endeavor to clear these memories, akin to shoveling snow, as she strives to carve a path toward a less burdened existence.
However, as these memories figuratively melt away, they persist in her consciousness, akin to the persistent sound of dripping water in a drainpipe. This dripping serves as a poignant symbol of the enduring influence of the past, even when she endeavors to release its grip. The mention of sleepless nights in the darkness underscores the emotional toll of grappling with these memories.
In the second verse, the artist introduces the concept of “breaking,” suggesting a yearning for respite and self-reflection. She envisions retreating to her room, a space where she can craft mental speeches, signifying a desire for a temporary escape from life’s demands. Here, she seeks solace and a chance to gather her thoughts.
The line,
“Listenin’ to the thousand hands that clap for me in the dark,”
poignantly captures the paradox of external acclaim coexisting with inner solitude. Even amid moments of recognition, Mitski/or the narrator still grapples with emotions of isolation and disconnection.
My Love Mine All Mine, has to be one of my favourites. It reminds me of Kendrick Lamar’s Mirror from MMATBS. Check my review of that here. Returning to the quote mentioned above, Mitski’s hope that her love shines, even after she’s gone is pretty apparent here. She weaves a poignant narrative exploring themes of love, mortality, and possessiveness. The metaphor of the moon as an eternal source of light within life’s chaos symbolizes her love’s constancy. This dual portrayal of love as both heavenly and mundane mirrors her exploration of its complexity. The moon’s agelessness highlights the transience of human existence, prompting Mitski to seek its eternal preservation of her love. The chorus emphasizes her possessive affection, contrasting it with the impermanence of worldly possessions. The reference to The Frost hints at an impending shift in the album’s themes, possibly involving separation.
Speaking of The Frost, I’d say it’s a haunting and emotionally charged that delves into the depths of loneliness and the void left behind by the absence of a loved one.
The frost serves as a powerful metaphor for the emotional coldness that pervades Mitski’s world following this loss. The song once again a testament to her ability to convey complex emotions and evoke a deep sense of melancholy through her lyrics and music.
Star’s steadily rising synth, at first, feels ominous, yet it cresendos into something soft silky chords longing to be hugged. It’s like nostalgia and lost love wrapped into one. It describes two former lovers who’ve moved on, but still recall the first moments when they were with each other. Mitski’s use of reflections and introspective questions make you think really hard, and I think this is one of those philosophical tracks.
I’m Your Man and Love Me After You, the final tracks and great closers each thump and resolve the indie album. More cynical in tone, I’m Your Man has a much more bitter take on heartbreak. Super apocalyptic and fuses mystical religious elements to convey these heavy feelings.
Love Me After You shows a optimistic Mitski. She’s moved on, she’s happier and positive. It’s much more hopeful and shows a clear cut new dawn for Mitski.
Rating: 9.2/10
Although I think some tracks could have been scrapped, personally I think this is Mitski at her peak. Her storytelling, impressive music composition and stylistic choices such as the choral vocals are really intriguing elements that convey a more polished sound, closer to her albums Lush and Puberty 2.
Clocking in at 32 minutes, The Land is Inhospitable and So Are We’s lyrical content can feel unnecessarily deep or it can feel just right depending on the listener. Nevertheless, it’s a great album with a strong replay value.
Afterword
I’m not a country guy, but damn, this album is a sonically interesting deviation from the synth-heavy atmosphere of Laurel Hell.
I was actually going to review JPEGMAFIA’S LP, but as soon as this came out I had to give out my opinion. Will do that eventually. Been super cooped up as of late.
