(202)4 the Record: Reviews of three new albums from a variety of different genres

“Loss of Life” – MGMT (4/5)

Six years after their last project, psychedelic pop duo MGMT returns with a new album — “Loss of Life” — and an entirely new, fresh sound.

The stylistic switch-up in the new album is glaring when comparing the softer, more introspective project to MGMT’s catchier and more lyrically straightforward past albums. This isn’t a step backward, though. The new album shows the band’s innovative power through lush, layered production and unique songwriting instead of the familiar hook-laden pop sound fans are used to.

The album’s lead single called “Mother Nature” makes use of acoustic guitar, tambourine, harmonica and drums to deliver inspiring lyrics about starting anew amid the cycles of nature like “I’ve torched the fields again” and “You’ve got to begin again.”

This folk-rock balladry continues with the chorus from “Bubblegum Dog” later in the album, “I felt hate toward the earthly world / But hate is a very strong word / And it’s finally catching up with me” — however, this time around the once-gentle sound warps further under layers of electric guitar, piano and a dozen other instrumentals to deliver an unforgettable performance.

This new production style takes on different forms at different points in the album. Dreamy, synth-driven love songs like “Dancing in Babylon” feel lighter and fresher than anything else I’ve heard this year. This is bolstered by their strongest and most mature vocal performances yet.

While “Loss of Life” isn’t the duo’s flashiest or catchiest project, it’s an innovative record with consistently entrancing production and captivating themes.

“eternal sunshine” – Ariana Grande (2/5)

Ariana Grande’s newest album, “eternal sunshine” lacks meaningful lyrics and is inconsistent in its production, but she manages to deliver some stellar vocal performances and communicate an entertaining narrative.

Grande started the album with a bang. “bye” is a quintessential breakup anthem that lays the narrative groundwork for the rest of the album. Punchy echoes of “Boy, bye” repeat in the background as her velvety voice sings about moving on from a past love, letting the listener know that they’re in for a modern take on a classic breakup album — a solid concept that she mostly manages to keep up throughout the rest of the album besides a few tangents. 

And that’s not to mention the infectious R&B grooves woven in songs like “bye” and “yes, and?”. I wish she would’ve leaned more into these funky R&B rhythms throughout the rest of the album — it’s seriously fun.

Instead, much of the album falls back on the cheap-sounding and frankly boring trap beats that wash out her vocals on songs like “the boy is mine.”

Most of the other moments I loved on this album showcased her notoriously impressive four-octave vocal range without overpowering instrumentals, like on “true story.” There’s no denying that the girl can sing, but she should be in the market for a producer that better accompanies her vocals. 

Grande’s lyricism on the album was, at best, inconsistent, and at worst, littered with blatantly cringeworthy clichés. I couldn’t help but roll my eyes hearing the lazy comparison of “You played me like Atari.” Even worse is the line, “I hope you feel alright when you’re in her.” Beyond just making the vibe uncomfortable, the line just felt misplaced and forced. Some things are better left unsaid, Ariana.

In “eternal sunshine,” Grande extends the best parts of her previous work. However, inconsistencies in lyrics and production brought these soaring achievements crashing down harder than her previous relationship.

“Deeper Well” – Kacey Musgraves (3/5)

The honest songwriting on Kacey Musgraves’ “Deeper Well” combined with a more stripped-back production style compared to her other work make for a very personal listening experience, which I loved.

The beauty of “Deeper Well” comes from its simplicity. Moments like the title track show the power of this simple beauty when she sweetly sings lyrics about getting older, taking care of herself, and finding a pure source of satisfaction — a “deeper well.” A gently fingerpicked guitar accompanies Musgrave’s rich, twangy tone to make for an intimate and memorable experience. It feels like she’s singing to you directly.

She continues themes of spiritualism, growth and moving forward cohesively throughout the rest of the album. Her songwriting is at its best in songs like “Dinner with Friends,” where she lists off the little things she’d miss “on the other side” — sunrises, her lover, her home state of Texas and, of course, dinner with friends.

Her voice and storytelling abilities are at the heart of this album, so the few songs that feature lazier songwriting bring down the earnest tone Musgraves uses on this album. Her warnings to “Be careful what you wish for” because money “Can’t buy you true happiness” are overdone, and don’t hold nearly as much emotional weight as her describing heaven as “No tears to cry, and nothing to mourn / Lying in your arms, so safe and warm.”

Small details on the album like weird vocal distortion effects on “Dinner With Friends” and “Anime Eyes” distract from her message and the progression of the album felt like it dragged on towards the end.

Overall though, “Deeper Well” combines Musgraves’ most mature songwriting and richest vocal performances for a memorable experience.