Pretty Things is a nuanced, admirably written, and poetic exploration of both femininity and masculinity. The final line, “and she don’t always do pretty things” alludes to the sensitive nature of how femininity is socialised, while urging to redefine it as a symbol of healing and strength. The rest of the track also describes the aggression of men, while acknowledging the possibility of nurturing masculinity without inherent violence. Instrumentally, the vocal melodies are intimate and lovely, especially in the chorus. Adrianne Lenker’s vocals themselves are as silky as ever and go well with the laid-back guitar arrangement. What’s more, the unexpected clattering toward the middle was an inexplicably evocative production decision as well.

Mid 8.

Shark Smile is an absolutely heartbreaking song about a loving relationship coming to an end after a car crash. This is one of the most lyrically impressive and emotive tracks on the record, with a brilliant progression that gives movement and dynamism to the story, slowly building up to the agonising conclusion in a wonderfully poetic manner. Moreover, the instrumental comes from a moving, high-tempo, and folky approach with intimate mixing which complements the storytelling quite well. Compositionally, the vocal arrangement is once again compellingly dynamic and heartwarmingly delivered.

Mid 9.

Capacity is another applaudable showcase of lyrical ability, coupling the power of imagination with the limitless ability of the human brain. In other words, it comes across as a dreamlike ode to our ability to create through “make-believe”. Audibly, the mix is filled with electrifying guitar tones that interestingly contrast with the balladry of the composition. It’s a captivating and immersive set of arrangements — and although the slow, lethargic feel of the track is a rather dissonant mood to pair with the thunderous guitars, it works wonderfully somehow.

High 8.

Watering is a heartbreaking song that speaks about the experience of womanhood and misogyny, with a lot of gruesome messaging. The narrator is followed time and time again by a stalker, causing massive distress in the woman who is being followed. Moreover, the aggressor is initially described as a child because of the protagonist’s tendency to humanise and attempt to empathise with this man, painting a saddening image of how women are often burdened with the responsibility of appealing to men, even if they’re being harassed. Sonically, the completely downcast guitar tone sets a beautifully bleak mood that slowly builds up throughout the track until the final verse, spoken by the man in question. The vocals also have a dejected chemistry with the instrumental, which powerfully adds to the emotion.

Mid-High 9.

Coma is a minimalistic though still hard-hitting narration of a woman put in a “protective coma”, likely because of abuse. This woman’s daughter, the speaker, is left wondering if their mother will even be able to recognize what she left behind before losing consciousness. The composition is also quite minimal, with an introduction leading the way to the repetition of a single chorus for the rest of the track. The charming performances, together with this intimate decision, make for an immersive and somewhat hypnotic cut.

Mid-High 8.

Great White Shark is, seemingly, a rather cryptic lyrical take on motherhood. There are descriptions of a troubling though beautiful word, possibly in order to make a parallel with the terrifying difficulty —but also overwhelming beauty— of being a mother. Arrangement-wise, the track is made up of an appealing waltz rhythm, heartfelt guitars, and a somewhat dreamy production. The melodies are wholly candid and wonderfully evocative this time around, once again delivered along with a hypnotic and enveloping mix.

Low 9.

Mythological Beauty is a beautifully open-hearted revisiting of Adrianne Lenker’s mother’s past, painting an emotional and forthright scene of her fears associated with being a young mother. Moreover, there is a reference to Andrew, Adrianne’s older brother who she is yet to meet because he was adopted by “a family who [their mother] thought could love and take better care”. Sonically, there is a heartwarming closeness in the guitar tones and vocal mixing that ties the song together into a beautiful, reverb-y, and comforting hug. Additionally, the syncopated melodies in the verse and the strip-down mood at the start of every chorus make for a pristine showcase of flow and structure.

Low 9.

Objects is a post-breakup track that uses the rearview mirror message “objects in the mirror are closer than they appear” (which is actually the full title of the song), in order to make a metaphoric parallel with the perception that someone can feel closer to your heart when they are away or maybe gone for good. In terms of tone, this is quite a unique cut, especially when talking about the guitars. They’re rather innovative, whether it’s the quick hits of slightly distorted notes in the chorus or the slightly dissonant, deep arpeggios in the pre-chorus; they could even be considered somewhat experimental — while keeping the enjoyably emotive feel of the rest of the record.

Mid-High 8.

Haley speaks of the overwhelmingly sudden way in which relationships can end and others can start. The speaker takes a moment to reminisce about their remaining love for a past partner while acknowledging the shock that comes with seeing something end. Composition-wise, this cut is a simple, straightforward, and folky ballad. It is, however, a wondrously expansive, wholly immersive, and truly sincere song of love — be it past or present. Also, it’s arguably the track with the most expressive and heartfelt melodies on the record.

High 9.

Mary is a mind-blowingly passionate and anecdotal poem about love and friendship. The way Adrianne Lenker describes her love for *Mary*, as well as the safety she felt when they were together is completely overpowering and heart-filling. What’s more, the instrumental enhances this with a charmingly sweet set of vocals, accompanied by a simple albeit pristine piano arrangement in the chorus. However, the verses do leave a bit to be desired; especially, the second one, where the doubled vocals are distracting and a weird production decision overall.

Low-Mid 8.

Black Diamonds speaks of the uncertainty that can be felt within a relationship. More specifically, and tying back with other themes explored in the record, the uncertainty of one’s femininity and the insecurity tied to being in a heteronormative relationship. Moreover, the love interest seems to be described as a somewhat emotionally reserved man, causing additional internal turmoil inside the speaker, second-guessing the relationship because of this. Instrumentally, the surges of fuzzy folk-rock guitars, tight drum mixing, and more of Adrianne Lenker’s silky vocals make for an amicable closer.

Mid 8.