Japanese Breakfast – ‘For Melancholy Brunettes (& Sad Women)’ album review: an anguished indie folk gem
THE SKINNY: Japanese Breakfast may have started out as a dreamy and shoegaze-driven project for Michelle Zauner, but it was clear from 2021’s Jubilee that things were going in a multitude of different directions. Drawing on more pop influences, the record propelled her into the spotlight and presented her as a rising star with razor-sharp lyrical aptitude.
It was always going to be tough to follow up a record of that calibre, and replicating its themes of joy that permeated through it, despite being at odds with the grief-stricken pair of albums that preceded it, would also be a challenge. However, the thematic return of mourning and loss seems to have served Zauner and her band well on For Melancholy Brunettes (& Sad Women), as she manages to expertly mix the anthemic indie pop of the previous outing with a fresh and stylish venture into folkier territory.
The glossy production from Blake Mills, known for work with Fiona Apple, Perfume Genius, and Bob Dylan, helps Zauner on this journey into new realms as she explores grief, estrangement and relationships souring through her loves of ancient myth, literature and art. It’s a signal of a songwriter maturing as a person, and allowing those more highbrow sources of inspiration to assist her in telling immediately relatable and heart-wrenchingly personal tales is what ultimately allows the record to shine.
Zauner is an artist growing beyond her origins and exploring new horizons with a sense of zeal , and while the tracks on For Melancholy Brunettes are peppered with sadness and anguish, it’s a brilliant record that perfectly captures these emotions and embellishes them with gorgeously crafted melodies.
For fans of: Big cries, little cries, happy cries, sad cries – you get the idea.
A concluding comment from an upbeat blonde: “What do you mean this album isn’t for me?”
For Melancholy Brunettes (& Sad Women) track by track:
Release Date: March 21st | Producer: Blake Mills | Label: Dead Oceans
‘Here Is Someone’: The luscious and ornate production of Blake Mills immediately springs into life, with twinkling tuned percussion and woodwinds. Zauner has never felt more of a boost to her already tender songwriting, and her delicate vocal delivery is sumptuous when placed over the top of this instrumental. [4/5]
‘Orlando in Love’: The lead single is short and sweet, but the more muted production here allows Zauner’s melodies to take centre stage. Not only that, but the lyrics that reference epic poetry and Early Renaissance paintings add richness to the song and help introduce the themes of temptation and grief. [3.5/5]
‘Honey Water’: This is perhaps the closest we get to a song that sounds like the anthemic indie pop of Jubilee, and while that’s obviously not a bad thing, it also feels a little out of place when pitted against the more sombre and introspective folk vibes of this new record. I can hardly fault it. [4/5]
‘Mega Circuit’: We’re still treated some booming drums like on ‘Honey Water’, but the rest of the arrangement is a little more restrained and some of the chord changes are reminiscent of Shields-era Grizzly Bear. We’re treated to one side of a story from a woman who has been wronged by a man with some inbuilt misogynistic viewpoints, who is pleading with him to recognise the ills of his ways. [4/5]
‘Little Girl’: While there are callbacks to lyrics in ‘Mega Circuit’ which may suggest that the two are in response to one another, it also appears to touch on Zauner’s inner anxieties about estrangement, having experienced being cut off by her own father following the passing of her mother. [4/5]
‘Leda’: More references to mythology and art here, telling the story of Leda and the Swan, where the titular character is seduced by Zeus and impregnated by him. The song seems to float by, leaving less of an impression than on previous cuts. [3.5/5]
‘Picture Window’: We’re back into poppier territory on this song, but that doesn’t necessarily mean the mood is picking up. We continue with the themes of grief and overcoming tragedy, with the chorus of “all of my ghosts are real, all of my ghosts are my home” being the standout refrain of the record as Zauner attempts to come to terms with the thoughts that haunt her. [4/5]
‘Men in Bars’: A gorgeous bit of balladry as she duets with actor Jeff Bridges. You might think this is a bizarre combination to suddenly chuck at the listener, but it’s an inspired moment as his gruff croaks complement Zauner’s higher register to create one of the most special moments on the record. [4.5/5]
‘Winter in LA’: Zauner wishes she wasn’t so bogged down in her melancholic ways and is dreaming of returning to a happier state. While the wallowing continues, the instrumental does seemingly have more of a spring in its step, hinting that there is some hope left despite the souring mood. [4/5]
‘Magic Mountain’: Just Zauner, a guitar, and some delicately arranged strings, bells and dulcimers close out the album. It’s a serene way to finally come to terms with the grief and discomfort that has been felt across the record. [4/5]
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.