Dive into the relaxing sound that Japanese Breakfast brings with their latest release “For Melancholy Brunettes (& sad women).” There is finally representation for all the brunettes and sad women who yearn to be understood, and Michelle Zauner graces listeners with her misty vocals which were recorded for the first time in a professional studio, instead of her usual improvised locations.
The first track, “Here is Someone” starts with a mandolin being played, paired with the dreamy vocals of Zauner’s delicate voice. The listener goes into a nostalgic trance with the instrumentals as if one was looking through a pond on a sunny day, which defeats the purpose of the melancholy and sadness that Zauner wants to portray.
“Orlando in Love” begins with the light strumming of an acoustic guitar, in which Zauner’s vocals are incredibly sweet and enjoyable. There are violins and drums backing the song, creating a celestial mental image that soothes the listener and makes one want the song to be longer.
A strong drumbeat starts “HoneyWater,” an upbeat track that has a whooshing, shoegaze sound reminiscent of a My Bloody Valentine tune or Blur’s 1991 “Leisure.” It works well with the themes of melancholy and what Zauner describes as the “psychic state of poets on the verge of inspiration.”
The splash of a cymbal and a muted resemblance to an Arctic Monkeys indie sleaze track makes the single “Mega Circuit” fitting to listen to in a locally-owned coffee shop. Her vocals fit with the ‘90s alternative shoegaze era; it would have been incredible to listen to a collaboration between Japanese Breakfast and Hope Sandoval’s Mazzy Star.
Acoustic guitar and whispering vocals make “Little Girl” one of the most dismal songs on the album. Eyes are the window to the soul, but Zauner shows that art and music are a door to the mind. The lyrics of this song show raw emotions that relate to Zauner’s upbringing, creating empathy within the listener.
As the album goes on, one can feel the themes of melancholy and sadness get stronger with every song. “Leda” has an acoustic guitar echoing through the studio, and Zauner interprets the song with so much emotion that one wants to listen for ages. The tracks of the album also seem short. On average, each tune is three minutes, making one long for more to soak in the emotions that the band brings.
Upbeat percussion in “Picture Window” snaps the listers out of sadness. It, once again, has an indie sleaze sound to it. Her vocals are soothing and in tune but do not overpower the songs in any way, which meshes well together with the instrumentals to create a cohesive atmosphere.
“Men in Bars,” featuring Jeff Bridges, utilizes a piano and quiet drumbeat to create a subtle country flair. Bridges, the Oscar-winning actor known for his roles in “Crazy Heart,” “The Big Lebowski” and “Iron Man,” is a renowned musician as well — contributing to the song with deep and slightly shaky vocals that contrast well with Zauner’s delicate and controlled voice.
The song “Winter in LA” is happier and opens the vault of memories with a distant festive feeling, yet the singularity of the song is so that, even if one can hear jingling bells, the winter feeling does not overpower the track. It makes one feel that they are enjoying a summer song talking about a winter memory.
The last song of the 32-minute album, “Magic Mountain,” features an acoustic guitar, whispering vocals from Zauner and a cello arrangement evoking a dreamy feeling that makes the track’s title self-fulfilling. It truly is like a walk through a magic mountain.
Although one wishes for the album to be longer, the overall feeling is tranquil, comforting and calm. It evokes the feelings of nostalgia, melancholy and sadness that Zauner warned the listeners about. The album is lyrically and instrumentally more mature than her last four album releases. It is a top pick for those looking to lose their train of thought on a cold spring day.
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