And even when it falls apart, it’s ours.
To yearn for someone is the determination to search for something that was part of you – no matter the pain they may have caused or the consequences of doing so. Singer-songwriter, composer, and best-selling author Michelle Zauner has used Japanese Breakfast as a vehicle to delve into these often conflicting feelings, most notably through the care and eventual passing of her mother in 2014 from cancer. This was introduced on debut full-length Psychopomp and further explored on the following records Soft Sounds from Another Planet and Jubilee. Her excellent memoir, Crying In H Mart, dug deeper into what it means to yearn and desire through her overall relationship with her mother and, consequently, her identity as both a musician and as a Korean-American.
Now, Zauner looks outwards to study other ways people seek what they desire on For Melancholy Brunettes (& sad women). While it may very well still be considered autobiographical, Japanese Breakfast take a departure this time around to delve into other perspectives on confronting infatuation, indecisions, and longing. Its moodier sound palette recalls the project’s first two albums, albeit decorated with a Romantic aesthetic that truly hones in on the record’s themes and rather flamboyant soundscapes. Because of all of this, “Orlando In Love” serves as a pretty perfect single for the album: the song (whose lyrics bear the source of the album’s title) quickly unfolds into lush orchestrals with Zauner’s unique vocal delivery poignantly reflecting the needs and determination attributed to fantasizing or falling into temptation.
At times tender, at times blunt and upfront, and generally resonating – For Melancholy Brunettes (& sad women) is a medley of melancholic musings carefully assembled to result in Japanese Breakfast‘s most cohesive album yet. Admittedly, I did hesitate upon first listen as the musical stylings displayed throughout was seeming too familiar of other artists that have ventured into this blend of country-leaning orchestral indie pop (which is very much present here). Still, Zauner’s talent for songwriting has consistently shown greatness and this trend very much continues on this record.
Keeping up with the streak that began on Jubilee, “Here Is Someone” and “Magic Mountain” is a showcasing of how to open and close an album, defining the melancholy motifs laid throughout with poise and intrigue through layered instrumentations that emotionally leave lasting impressions, something that Japanese Breakfast have regularly proved to do with success. Even on more direct tracks like the surprisingly colossal “Honey Water”, the band manages to maintain a similar sense of levity that bolsters Zauner’s poetic deliberations on blatant unfaithfulness:
‘The lure of honey water draws you from my arms so needy
You follow in colonies to sip it from the bank
In rapturous sweet temptation, you wade in past the edge and sink in
Insatiable for a nectar, drinking ’til your heart expires.’
Although Zauner’s lyrics on this album are pretty on par with her previous output, it shouldn’t go without mentioning that she strikingly excels at dwelling on pure regret and uncertainty, even more so when her vocals are at the forefront. This is why “Little Girl” grew on me to become a definite highlight: a soft rock cut with gentle flourishes of synths à la Phil Collins about running away and seeking understanding for doing so shouldn’t hit this hard, but it really does, especially with Zauner’s vocal performance denoting cautious empathy and tact. And all these elements are not put together out of sheer creative push, either – bringing back the memoir for a minute here, the song in a way exposes the way Zauner’s father coped with the aforementioned passing of her mother by going incommunicado and leading a life of indulgences, feeling culpable years later when trying to reconnect with Zauner. The following track “Leda” treks on the same grounds both musically and lyrically, with Zauner further feeling conflicted with her father’s erratic behavior, and more broadly contemplating on choosing between avoidance or acceptance.
For Melancholy Brunettes (& sad girls) does have its wildcards. “Mega Circuit” takes a bit of a detour to offer a shuffling groove with highly infectious drums to depict a rural America where young boys herald aggression and misogyny as trophies, at the behest of public figures upholding warped masculine norms. This track has also become a grower for me with its carefree instrumentation and cunning lyrics to which, even considering its subject matter, Zauner still works to find some semblance of comprehension. Complete with pedal guitars and an unexpected feature, “Men In Bars” is a soaring country rock ballad that finds Zauner dueting with The Dude himself, Jeff Bridges, about reconciliation amidst a self-admitted toxic relationship. While Zauner and Bridges’ vocals clash at times, I do find the overall chemistry unique in the way that both convey the sense of pleading very palpably.
Jubilee having been my favorite of the project ever since its release, I was very curious going into this new album cycle and, after many repeated listens, For Melancholy Brunettes (& sad women) is a sure logical next step for Japanese Breakfast – and a fulfilling one at that. It’s a record that takes a bit of time to be acclimated with, but in the end it wins you over when you least expect it. The album never pretends to come off as novel, but more so finds strength in brevity with eventual high-impact results – intimate in its execution but harboring real and unfiltered feelings that cut right through. I can see this one becoming a cult classic for some; there is no questioning, however, that Zauner and company have done it again.
