Cassandra Jenkins – ‘My Light, My Destroyer’ album review: sad girl indie with added sax
THE SKINNY: With the rise of so-called “sad girl” music, indie folk has become a crowded marketplace. There are countless guitar-wielding women telling tales of love and longing over gentle strums and Americana twangs, hoping to add something new to the genre, desperately trying to stand out on Spotify’s ‘my life is a movie’ playlist. The latest attempt to do so comes from Cassandra Jenkins in the form of My Light, My Destroyer.
This isn’t Jenkins’ first foray into the folk-indie-rock realm. My Light, My Destroyer marks her third full-length release, following from An Overview on Phenomenal Nature, which was released back in 2021. Elements of that album bleed into this one, from her penchant for storytelling to her gorgeously smooth vocals, but this is a much more ambitious effort both in length and scope.
There are certain songs that feel restricted to the tropes that sad girl indie has set out for itself: declarations of desperation and strums that indulge them. But Jenkins also pulls heavily from jazz on My Light, My Destroyer, adorning her sonic storytelling with saxophones that sound as if they’ve bled into the recording studio from a nearby jazz club. She fills the record with voice recordings, too, so that it often feels like you’re listening in on a conversation you shouldn’t be.
My Light, My Destroyer isn’t necessarily a groundbreaking entry into the realm of indie-folk poeticism, but it’s a gorgeous record nonetheless. There are tracks that pass by without a second thought that would get lost amidst names like Julia Jacklin and Mitski, but there are moments that do manage to cut through the endless stream of sad girls and offer something new.
For fans of: Stargazing, saxophones and William Shatner.
A concluding comment from the Tumblr community: “Being happy was outlawed in 2014 and we’re happy to see that My Light, My Destroyer has not attempted to violate that ban in these trying times.”
My Light, My Destroyer track by track:
Release date: July 12th | Label: Dead Oceans | Producer: Andrew Lappin
‘Devotion’: There’s nothing quite as quintessentially sad girl as mistaking devotion for desperation. [2.5/5]
‘Clams Casino’: If you’re hoping for ‘Clams Casino’ to sound anything like the producer it takes its name from, you may be disappointed. There’s no cloud rap here, only soft strums and Americana vocals. It’s a track that follows the formula of the genre to a T, but fails to expand it. [3/5]
‘Delphinium Blue’: ‘Delphinium Blue’ brings something slightly different to the fore, opening some strange, artificial vocalisations and distant plucks. Synths take over from strums, and cymbals rumble beneath as Jenkins’ voice switches between spoken word and soaring heights. [3.5/5]
‘Shatner’s Theme’: Broken-up birdsong forms an ode presumably to Star Trek star William Shatner, though we’re given no clues as to why. It’s lovely nonetheless. [3/5]
‘’Aurora, IL’: Jenkins retreats back into her comfort zone on ‘Aurora, IL’, which, unfortunately, is rarely where an artist can create their best work. Despite some intriguing guitar moments, it’s another classic sad girl indie rock track with little to distinguish it from a playlist of tunes by Adrienne Lenker and Julia Jacklin. [3/5]
‘Betelgeuse’: Bleeps and birdsong return in ‘Betelgeuse’, though they’re relegated to the background in favour of piano flourishes and speeches about the sky. It’s like listening in on a conversation between the amateur astronomers who live next door, while smooth jazz spills from another nearby window. [3/5]
‘Omakase’: ‘Omakase’ certainly sits in that sad girl realm, but there’s something about it that sets it apart slightly. Perhaps its the warmth of Jenkins’ words, the jazz influences that bleed into the instrumentation, or the knowing references to the album title, but this one shines a little brighter. A sad girl slam-dunk. [3.5/5]
‘Music??’: “Oh, music. Sorry.”
‘Petco’: Focusing on the mundanities is an essential theme of this genre, and it doesn’t get more mundane than piles of dishes and trips to Petco. With slightly more driving guitars, this feels more akin to Soccer Mommy than the folkier residents of the sad girl realm. It’s a welcome change of pace. [3.5/5]
‘Attente Téléphonique’: Jenkins clearly loves a fuzzy, sampled vocal. On ‘Attente Téléphonique’, she pairs a French voice note with gentle sax lines and calming keys, but the novelty may be wearing off. [3/5]
‘Tape and Tissue’: Jenkins’ jazz influences come into their own on ‘Tape and Tissue’, as she infuses them with new modernity and melancholy. “I wish I could wish you well,” she sings, her delivery full of intent. [3.5/5]
‘Only One’: ‘Only One’ seems to mix all of Jenkins’ influences into one song, with a bouncy bassline, occasional saxophones, and layered vocals. “You’re the only one I’ve ever loved,” she sings, “The only one that I know how to love.” [2.5/5]
‘Hayley’: Jenkins devotes a minute and a half to cathartic strings in an instrumental outro. As they fade into the night, it caps off the record perfectly. [3/5]
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