Mitski is an American singer-songwriter who has grown over the years into a prominent alternative artist. In her newest album, Nothing’s About to Happen, she brings to the table more of her memorable rustic sound and depressingly relatable lyrics. This album particularly revolves around themes of isolation and loneliness as the main speaker (or Mitski) secludes themself while yearning for opportunities in a different world. Some fans have reacted to this album with mixed feelings, with some finding the second half to be underwhelming. Despite this, I definitely think that this is still an extremely intimate album that tells a nuanced story through calming music.
In A Lake (9/10)
“In A Lake” starts off with Mitski’s soft vocals and instrumentals. The folkish melody and the quiet guitar set the stage for the small town the lyrics present. The speaker grows ashamed of their lived experience as they are forced to conform to a restrictive environment they don’t belong in. The tone of the vocals is almost introspective as the speaker discusses painful and difficult memories of the suffocating small town. However, they transition to a lighter, almost serene tone as the speaker looks towards contentment in the lake and city skyline. The final chorus is a loud and breathtaking finish as the speaker transitions to their hope for a better future in a bigger city. The symbolism is done superbly as the city, lake, and sky all point towards an, albeit lonely, escape.
Where’s My Phone (10/10)
This single is especially exciting partly because of the impressive instrumentals that mix both rock and electronic sounds to support the chaotic tone. I really enjoyed the background electric guitar and the digital sound effects as they grow louder in proportion to the speaker’s declining mental state. I also want to give props to Mitski’s amazing vocals since they set up such a foreboding tone for the rest of the album. As for the lyrics, they are primarily about a speaker losing their identity during their fruitless escape from addiction and societal issues. The vocals progressively turn more glitched and fuzzy as the speaker loses hope in their search. This song has an amazing progression that may connect to many listeners who feel lost and exhausted by the sea of information that social media offers.
Cats (8/10)
This song is a gentle listen, with the background horns holding a mellow warmth that aids the soft vocals. Despite the cozy vocals and synths, the lyrics tragically discuss the speaker’s failing relationship as the speaker forces themself to change to appeal to their uninterested partner. The two cats, representing an ideal relationship for the speaker, end up leaving in their own independent directions. Mitski’s delivery of the line “Maybe if I could, you already would” is absolutely heartrending and is probably my favorite part of the song. Although this song isn’t Mitski’s most experimental or catchiest piece out of all of the tracks, I definitely believe that it still demonstrates Mitski’s great songwriting. Thank you, Mitski, for inventing cats.
If I Leave (7/10)
The song’s sound may be familiar to many Mitski fans, as it draws upon her iconic, grungy style similar to her work in Puberty 2. The steady percussion and moody strings support the overcast and sullen tone set up by the lyrics. The speaker in this song discusses her difficulty with mental health and her dependence on her romantic partner with her issues. I found this song to be a chill listen but I thought it was a bit basic in terms of music. That being said, I don’t think that this ruins the song and it still holds a strong gothic feel. Also, the music video is absolutely artful and deserves a watch.
Dead Women (7/10)
“Dead Women” is a haunting song about how, in both life and death, women are mistreated and deprived of their autonomy. The vocals have a fittingly devastating tone, as they carry a dampened and ghostly quality. I thought that the strings during the instrumental breaks created an almost ominous and spectral feel. This song continues perfectly with the shared theme of societal isolation seen throughout the album with its morbid descriptions of violence. I wouldn’t say I prefer this spooky sound compared to the other harsher or softer tracks in the list, but I definitely think that the message and delivery are well done.
Instead of Here (8/10)
“Instead of Here” brings back Mitski’s memorable melancholic sound with steady percussion and introspective synths. The lyrics are about the speaker’s difficult experiences with life, causing their self-harm and avoidance of any helping hand. At the very end, the speaker retreats into a state of misery as the phrase “I’m where nobody can reach” is repeated as an ultimatum. The production is rather basic compared to other songs in order to push focus onto the stunning storytelling. Even though this song may not be the most sonically experimental, I thought that Mitski demonstrated her confidence in her style and writing well through her performance.
I’ll Change For You (10/10)
When this song was first released as a single, I found myself moved by the sheer warmth and magical quality that it emanated. From the sound effect of the clinking glass to the themes of regret, this song is completely engrossed in nostalgia. Mitski’s resonant vocals maintain a balance of both gentle sweetness and stirring poignance. Her singing is especially heartbreaking in the last chorus, as it sounds both like longing and grieving for something that once was. The bossa nova-inspired instruments also aid in the easy listening and familiar feeling this song is trying to achieve. This is easily one of my favorite tracks out of this entire list because of the introspective tone and how well it represents the struggle to come to terms with difficult memories.
Rules (7/10)
On my first listen, I was taken aback by the drastic tonal difference from this song compared to the songs from before it. The jovial instrumental performance, however, is genuinely beautiful and ironically does not match the depressing writing. The lyrics describe the speaker having to change their entire self in a toxic relationship, ultimately giving up not only their identity, but the connection altogether. I thought that the placement of this song was a bit jarring, however, and it is kind of an outlier in terms of sound within this entire album. Although I am not completely sure whether or not this song belongs on this album, I can definitely say that it is a solid piece by itself.
That White Cat (6/10)
Mitski is a skilled expert at hiding devastating tales behind silly subjects. Although the lyrics may be humorous on the surface, portraying many animals annoyingly living in the speaker’s home, they actually delve into how others take advantage of the speaker’s generosity and force the speaker into a state of compliance. I think that the metaphors of the animals representing the loss of control over one’s own life are well done. However, I think that this track particularly falls short compared to other tracks because of its repetitive sound and lacking vocals. I’m not a big fan of the chants, and I just feel like the music isn’t very memorable overall.
Charon’s Obol (7/10)
This track, while I thought felt musically weak, made up for it through its story-rich lyrics. This song tells a narrative about a woman who is obligated to take care of many dogs after the death of their owners. The speaker finds healing through sustaining the house, thus becoming a Charon’s Obol, a token that helps souls go to the afterlife. While Mitski is skilled with symbolism and storytelling, I think that this is one of her most sonically simple tracks on the album. In general, I feel like some of the quieter songs end up blending together because of their modest sound. This may not be a bad thing for some fans, but I truly believe that Mitski shines best when being experimental with her style. I do like how, unlike many other songs, the ending is somewhat hopeful.
Lightning (8/10)
“Lighting” makes for a great conclusion as the speaker chooses to move on from their life of shame through revival and death. The speaker calls out to the lighting for their death so that they can have a new, hopeful stage in whatever comes next. This narrative subtly reflects the title of the album as the speaker waits for “nothing,” or death, to happen to them. The bridge is the best part of this song to me, and it sends goosebumps whenever I relisten. This was a good ending point to the album that tied everything together into a depressing loop.
Overall, I find this to be a really strong album. Mitski dives further into what she explored in past albums, such as Bury Me at Makeout Creek, and expands on them with newfound context and clarity. Although the second half slows down and is generally weaker, the stronger pieces genuinely display Mitski’s genius songwriting and instrumentation. My favorites are definitely “Where’s My Phone,” “I’ll Change For You,” and “In a Lake” for their gut-wrenching lyrics and unique sounds.
