Caroline Polachek's groovy, yet emotional sophomore album keeps listeners on their toes and for the most part, impresses throughout.
By: Aubrey Hoes
photo: Sony Music
A few weeks ago, I fell upon Caroline Polachek. Relatively new to the ‘mainstream,’ Polachek seems to be another artist that has been swallowed up by the TikTok algorithm. Unlike many of her peers that have shared a similar fate, however, the “So Hot You’re Hurting My Feelings” artist has the credentials to match her hype. Since her start in the early 2000s, Polachek has had a steady career as both an ensemble artist and a producer, working with the likes of Blood Orange and the beloved Beyonce. But in 2019, Caronline broke out with her solo debut album, Pang. Since its release, Polachek’s vocal and technical prowess have added much needed color to an uninspired indie pop scene .
This February, Polachek released her second studio album, Desire, I Want to Turn Into You, and the singer does not hold back. Polachek’s maximalist art style is on full display. The production throughout the 12-song tracklist is nothing short of an energetic masterpiece, filled with unconventional rhythms and sampling that altogether sound both unsettling and familiar.
The album’s introductory song, “Welcome to My Island,” offers an introspective look into Polachek’s personal struggle with the recent death of her father, setting the tone for the rest of the tracklist with an upbeat tropical theme highlighted by punctuated synths. This contrast between the lyrics and overall feel of her production plays into the larger theme of the album as she explores both the thrills and dangers of passion in excess. The narrative structure of the album follows a story, presumably of Polachek herself, as she trades away her independence (characterized in “Bunny is a Rider”) while embracing the possibility of love (“Sunset”). The latter half, however, focuses on Polachek’s realization and struggle with the destructive aspects of love as she finds herself longing, desiring (“Crude Drawing of an Angel”) for her partner, no matter the mental, emotional, or physical tolls placed upon her.
The loss of self is another theme Polachek contemplates through Desire. The three-song juxtaposition of “Fly to You”, “Hopedrunk Everlasting,” and “Butterfly Net” captures Polachek as she acknowledges her dependence to her partner as she holds desperately tight to the love that they shared in fear of losing them, and, in turn, herself.
“Billions,” the album’s closing track, ties together both themes. It addresses how love can be beautiful, but through her open embrace of this beauty, her passion turns to infatuation and obsession. Her sense of overwhelming desire for her partner leaves Polachek vulnerable and unable to let go. The eventual split of the two renders Polachek a ‘headless angel,’ unable to contemplate life on her own, while simultaneously unable to discard her feelings of love and desire, though tainted.
Polachek loved too much and got hurt–a relatable theme for many. Despite being executed beautifully, I was not thrilled with the production on Desire at first listen. The sonic theme of the album initially seemed to be incoherent. The mix of high-energy pop and dreary lament, employed sporadically within the tracklist, hinders the pacing of the album. With many songs also undercut by tropical instrumentation, I found it difficult to grasp a sense of continuity. However, this may play into Polachek’s idea of deranged obsession and I’m simply too unaware to comprehend her genius.
Polachek generously implements vocal splicing within the album which works in some places but falls short in others. For example, on “Crude Drawing of an Angel,” Polachek’s low, resonating humming plays beautifully with the hymnal nature of the song. But, in “I believe,” listeners are greeted with a grating, high pitched sample that Does. Not. Seem. To. Stop. I recognize Polachek’s experimental effort on this project, but at times this comes off as forced, disrupting the melodical flow of the tracks.
My biggest gripe is with Grimes. Now, as an artist, Grimes is a wonderful producer, singer, and songwriter. The one thing that hinders my ability to fully enjoy this album is the inclusion of her vocals on “Fly To You.” As the only track on the project that features another artist, this song had great potential. Although uninformed of her personal or professional relationship with Grimes, as an uninitiated listener, I felt the timbre and vocal mannerisms of the pair did not mesh well. However, this really is the only personal low point on the album.
Each track, on its own, fully display Polachek’s mastery of production. She delves into so many genres within this album: Latin, New Age, Hyperpop, early 2000’s pop, and psychedelic rock, to name a few. It is her ability to adapt to and fit perfectly with so many different styles of music that somehow coheres the tracklist. Though thematically obfuscated, I do believe that Polachek’s musical capriciousness weirdly works, as each genre adds a deeper layer of emotion and explores new love and its unending possibilities.
It is the songwriting, however, that really ties the entire album together. Polachek’s use of biblical, sensual, and violent imagery weaves the beautiful yet painful narrative. Though minimalist in terms of lyricism, Polachek’s lack of explanation forces listeners to look beyond the catchy melodies.
I’ll be honest. I did not like this album after listening. Though the next day, I had the songs stuck in my head, prompting me to give it another chance. I then fell in love. The high points of this album for me were “Butterfly Net,” Hopedrunk Everasking,” “Crude Drawing of an Angel,” and “Sunset.” Desire has something for everyone, and even if it doesn’t, the relatability of Polachek’s struggle with love and desire will have listeners both grooving and crying. I give this project 4 Reveries out of 5.
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