Not since the days of grunge has disenchantment been such effective fertilizer for mainstream music
If we are in the summer of our discontent—more lukewarm than hot-vax thanks in no small part to Delta blues—then Billie Eilish’sis the album for the moment. Which is ironic, not just on account of its title but because the record is an account of one singular 19-year-old pop star’s growing disillusionment with that which she once desired or is supposed to have.
This is not an album about burnout, because that album, in its pure form, couldn’t exist. That album is Lauryn Hill’s follow-up toand all the records that Erykah Badu didn’t write. That album is, as of the publication of this post, is Kanye West’s delayed-by-design. And yet. There’s something in Eilish’s tone here that suggests the germ of inability or unwillingness to go on. A brushing up against apathy. A dissection of meh.
as an existential state. These feelings are generally at odds with creativity, and yet Eilish and her brother collaborator Finneas O’Connell transubstantiate it into a fully realized statement on Eilish’s place in the world and her ensuing unease with it. Not since the days of grunge has disenchantment been such effective fertilizer. G/O Media may get a commission
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