music videos. – Youtube
Since 2017, Billie Eilish fans have been scraping their knees, begging for the anticipated arrival of “When We All Fall Asleep, Where Do We Go?” And on March 29, prayers have been fulfilled.
Billie Eilish Pirate Baird O’Connell, only 17, has a career that has exponentially grown since her first hit “Ocean Eyes”. The soft, lullaby of her soprano vocals have wooed crowds of all ages and demographics.
Her heartfelt ballads are contrasted by the cut-throat gaze of her eyes. The melancholy teen has done more than go viral with her first song; she has paved a path for herself as a one-in-a-lifetime artist. She is a beacon of hope for the future of pop, dropping earth shattering hit singles one after another.
We have been bombarded by overproduced, generic artists on the radio, a collective plenty that lacks substance and routinely follow comfortable formulas. Instead I argue that Billie Eilish is above that.
The alt-pop prodigy writes and produces songs with her brother Phineas O’Connell. Because of the connection that Phineas and Billie have, it’s evident that the artistic process is open and honest. It’s likely that this bond encourages Billie to show her best self through her music and stage persona.
She is dedicated to her art, having committed to all her music video stunts, except the one in Bury a Friend, where lingering hands impale Billie with over a dozen needles. It was the first time her crew held her back from such a perilous opportunity, to which she was not pleased.
Billie’s shock factor persona, noteworthy songwriting, and tasteful genre blends have captivated millions, landing her tour opportunities despite not having a debut album. What? Exactly. It wasn’t until recently that her first album has been released to the public after several cryptic posts that teased fans.
Eilish’s work explores themes darker than pop is used to; her subject matter has earned her the genre title “terror-pop.” Her vocals are characterized as breathy, haunting whispers, a sound that is as powerful as it is subtle.
People with vocal experience understand that her voice, in association with shifting vowels in pronunciation, is key to achieving a singing tone like Billie’s. Criticism comes from people who want to invalidate this style of singing, but it is just as valid as a powerhouse voice.
Her music does as art should: it makes you feel something. The same voice that gets you up to shimmy on your feet can also cast you to tears, or shake you to your core.
“When We All Fall Asleep, Where Do We Go?” is an album that demonstrates that ability. The debut has stirred a whirlwind of conversation across social media platforms. The Bellyache singer was facing the pressure of performance, as she had a first impression to make through her debut album.
After the initial listen to the 14-track composition, I was perplexed. It was far from what I expected, but keener. Each track is characterized by either ambient or upbeat tones, a style that’s an engraved Billie Eilish signature in gold. Her ability to sway between both energies is effortless.
WWAFAWDWG is an album that needs to simmer in your brain. The more you listen to it, the better it becomes. Upon first listening, I can admit to only judging the surface. It would be shallow to base the songs’ worth on its overarching beat. Like art, you can more deeply appreciate the music when you’ve closely analyzed the subject matter. This way, you get a greater understanding of the overall message. In fact, songs like “listen before i go” and “i love you” didn’t impact me until the third listen in. Once everything clicks, it becomes an uppercut to your heart.
The audience is met with familiar tracks, such as “wish you were gay”, “when the party’s over”, “bury a friend”, and “you should see me in a crown”. These are all solid song choices to include, as they don’t stray from Billie’s intent.
The worst an artist and their team can do is haphazardly place songs in an order that doesn’t align. The album is commendable for starting with a sly, sultry tone, and exiting with a reflective inner turmoil. As many albums are compelled to descend in a similar fashion, WWAFAWDWG does it reasonably so.
Eilish carries herself as if she fears nothing and no one. The thick-skin, fearme-attitude is empowering in the most witty, selfish sense. And although this inflated “arrogance” is simply a front for confidence, we are later introduced to some of Billie’s most vulnerable tracks yet.
The songwriting is minimalistic, yet introspective and poetic. Audiences are encouraged to read between the lines and interpret the songs as pleased, a goal on Billie’s part. This way her work is relatable for millions of people, even while storytelling a valuable personal narrative.
There is a juxtaposition between her work and the control that she surrenders to her audience. For instance, in a song like “bury a friend”, she’s mindful of the chaos she composes, all while encouraging her listeners to fabricate their own interpretations.
The song is written from the perspective from the fictitious monster under her bed, an entity that prompts several questions, including the daunting wonder of an afterlife. This entity can be interpreted as our own “monster,” as we can become our own worst enemy.
Lyrics are brought to life by the atmospheric melodies that come through with songs like “ilomilo” and “xanny.” These song are headphone-friendly. In fact, in-ear buds are the pathway to experiencing this album in its prime.
“Ilomilo” is a song, based off of Billie’s favorite 2010 video game, that encompasses the fear of separation and loss. Much like other songs, “ilomilo” carries double entendres.
When Billie sulkingly sings “show me the way home, I can’t lose another life,” a trope where she alludes to her grief, she is also referencing the lives in a video game.
“Xanny” paints rumbling, dewy summer blues vibes when it peaks around the chorus, an ASMR lover’s delight. The audience can empathize with Billie’s bummer attitude towards adamant partydrug users.
Admittedly, the intro “!!!!!!!” could have been omitted to refine the tracklist as it offers no significant substance. Billie goofs off in this brief introduction where she removes her invisalign, followed by a hearty cackle.
“8” is a track that is accompanied by unexpected ukulele riffs and distorted vocals to simulate a younger Billie. There is shifting back and forth between this and Billie’s true voice. Truthfully, the execution of this song was overwhelming, as it could have produced cohesively without the obtrusive effects.
It was a difficult time finding solid qualities in the album to complain about. Moving forward, I wish for Billie to continue exploring her art and push the potential of her voice.
Otherwise, the rest of the rest of the tracks are woven together taut.
I can’t help but mention a ballad that Billie dubs “—one of my favorite songs I’ve ever written in my life,” better known as “listen before i go”. While the song is heart-rending, Billie hopes that the listener can use the track as a “mental-hug.”
I feel a knot in my throat by the time Billie sings “leave me, deja vu”. While it’s another song that emulates a perspective other than Billie’s, it involves depression and what it might ensue. As the most vulnerable moment in the album, it moved me to tears. The sirens act as a fitting accessory to atmospheric storytelling.
“Bad guy” is a polar opposite from “listen before i go”. Easily the most “slytherin” of all Billie masterpieces, this song is a bouncing, cynical power-trip. The bass pulsates, like that of a Jack White hit. “Bad guy” is unapologetic and intimidating.
Even the reprise, which changes drastically in tone, is met with nonchalant poetry: “I like when you get mad. I guess I’m pretty glad that you’re alone. You said she’s scared of me? I mean, I don’t see what she sees, but maybe it’s ‘cause I’m wearing your cologne.”
Unlike most albums I’ve listened to, WWAFAWDWG has made me dance, as well as bawl my eyes. This debut album is promising. Billie Eilish has proven repeatedly that she carries her heaps of potential. Having only seen her sport a straight face, it’s heartwarming to see her smile at the mention of her new album, where her songs are “her babies.”
WWAFAWDWG has taught me that creativity is fueled by that which makes your heart flutter faster. It opens wounds and mends them. It is a call to action, encouraging you to be honest when you’re facing yourself in mirror.
Alma Tovar
Features Editor