It’s worth fighting for some semblance of normalcy, and the brightest moments on the new Japanese Breakfast album are also some of the most enduring. And her third album, Jubilee, is about learning to find common ground and grow from your own experiences, both because of grief and in spite of it. Her follow-up Soft Sounds From Another Planet was largely about endurance and the detachment one feels from everyone around them following death. Throughout the past few years, she’s ended up creating a powerfully relatable mental map of the trajectory one goes through in the wake of loss. Holed up in her parent’s house in Oregon while her mom was in the process of dying, her debut album Psychopomp excavated the many emotions that bubble up when a relative is suffering with a long-term illness. Zauner started making music on her own from a low place. She exudes confidence on Jubilee, flexing the muscles she’s developed over the last decade of playing music, even as those muscles extend to her extracurriculars like writing a book and directing her own videos.
Between the rollout for the new album and the release of Zauner’s debut memoir Crying In H Mart, she has managed to adequately channel the anticipation of something like Homogenic and the other third albums that Zauner cites in conversation, including Wilco’s Summerteeth, when an artist is at the top of their game and anything feels possible. These last few months have certainly been a big statement for Japanese Breakfast. An artist’s third album should be a big statement.” “Not that I even deign to compare myself to her in any way, but Björk’s catalog is just so perfect to me. “I’m really obsessed with artist’s discographies,” Michelle Zauner says.
0 kommentar(er)
