Pills & Good Advice PART I: This song encompasses a pretty gigantic amount of themes, all cohesively and successfully held together within the topic of mental health and the transgender experience. There is a powerfully written inner struggle to decide whether to be vulnerable enough to seek care, especially in the face of underwhelming help — both medical and personal, hence the title. Along this, there are more mentions of the effects of depression; namely, numbness, a haunting (or rose-tinted) past, and self-harm tendencies. Arguably, the line “the straighter the line, the more it’s manmade” reads as a critique of heteronormativity, and the negative effects it has on individuals. All in all, this part evokes a strong feeling of detachment, while still adding nuance through mentions of silver linings in the form of connection and betterment. Instrumentally, this song is nothing short of impressive, the structure is ambitious, the ideas are consistent, and the execution is a force to be reckoned with. The achieved sonics are an applaudable and eclectic amalgamation of guitars, vocals and many electronic additions that come together beautifully.

PART II: This part goes more in-depth into the inner dissonance and the uncertain, threatening nature of the future. More specifically, the threat of having to lose oneself to look out for others, impairing the ability to find meaningful reciprocity. Along this opener, the amount of lyrical ideas matches the amount of musical ones along the 10-minute runtime. It’s honestly saturated in different sections, although every single one of them in these past two parts has been admittedly great — which says a lot for such an undertaking.

PART III: This section shows the full extent of how misunderstood Nat Puff feels, dejectedly detailing her ever-present pain despite the attempts at progress. She simultaneously compels the listener to trust she’s “found peace in the madness”, while again closing the song with the dispirited description of how *pills and good advice* are all to count on. Musically, this part does have sections that begin to waver. Although the performances (and admirable Car Seat Headrest sample) are all as strong as before, the compositions lose a bit of steam compared to the more energetic sections that came previously. Finally, the mix of the whole song is also worth mentioning due to the switches between a deliberately overblown and a surprisingly clean sound, evocatively choosing between the two with precise purpose.

Mid 8.

The Ballad of Marion Zioncheck is a documentary-like cut that’s extremely relevant today. It tells this very little-known story as a way to critique a world that misunderstands and mistreats mental illnesses and even shuns those who suffer from them. *Marion Zioncheck* suffered from these shortcomings and, despite doing good for the world, was sadly driven to commit suicide once it was too much to handle. Moreover, the vocal production and arrangements are a shimmering aspect of this absolutely beautiful track. The piano melody, along with its bright timbre, is another wonderful accompaniment to the lyrics and the rest of this legitimately tear-inducing track.

Mid 9.

there is a place for you here is one of two title tracks. The lyrics here explore how genuine care and belonging are as possible as they are elusive. Alternatively, it could also be interpreted as Nat Puff endearingly addressing herself. These heartfelt lyrics are most definitely complimented by yet another absorbing listening experience. From the fantastic production to the catchy hook, this is an additional moment in the tracklist that’s engaging, memorable, and unique.

High 8.

Out Of My Mind explores self-critique so intense that it reaches a point of asphyxiation and, sadly, winds up becoming an incredibly disheartening helplessness. It also explores the idea of going insane due to this overthinking and admonishes the indifference other people have towards those who are *out of their mind*. Instrumentally, it acts as some more exposition of Nat Puff’s applaudable synth work; with nicely atmospheric pads and a shiny lead melody in the chorus. This is before switching into a final section with a down-tuned vocal delivery which acts as an anxious and somewhat dark outro. Although all of this is undeniably enjoyable, this track feels a tad lacking in drive, especially because it comes across slightly more straightforward compositionally.

Mid 7.

It Could Be Better touches on the impatience, desperation, and seeming endlessness that comes with betterment. Even when things are “good”, the alienation from society due to its ignorance of mental health and trans issues remains and thus could always *be better*. Once again, I am a fan of this overly compressed style of mixing reminiscent of the hyperpop influences the record has. What’s more, the beat switch at the end of this cut is nothing short of jaw-droppingly fantastic and is most definitely an impeccable way to end an already admirable track.

Low 9.

Kudzu PART I: *Kudzu* is a type of incredibly fast-growing and invasive vine. This could be a metaphor for how Nat Puff feels like a burden to others in the face of her afflictions. This *kudzu* is also a euphemistic nod to cannabis addiction, which is mentioned as a failed coping mechanism across part 2 as well. Musically, this part is mostly used as a calmer introduction to the more loaded part that follows it.

PART II moves onto themes of identity, and dives deeper into the topic of addiction as well. These two are intertwined due to their togetherness in times of struggle. The songwriting evocatively stirs up the feeling of becoming one with a hindering internal dialogue; and in a beautiful manner, this disheartening defeat is contrasted with an amazing chorus that is overflowing with emotive affirmations stating that she tried, though to no avail. The already incredibly emotional lyrics are brought to life by this immersive, heartfelt, and distorted instrumental riddled with stunning vocal performances and energetically implemented samples. What’s more, this is all held together by a powerful mix that maximises the emotion that was so blatantly poured into this track’s creation.

Low 9.

THIS IS A PROTEST FOR YOUR HEART!!! is the second title track. It explores feeling trapped inside a battle between suicidal thoughts and trying to get better. The disillusionment from this has left the speaker feeling completely out of luck, though this is thrillingly contrasted with a recording of Nat Puff celebrating after narrowly escaping a car crash. This acts as a nice touch and a final silver lining to close the album up. Sonically, this closing track is by no means conservative in its use of distortion, as this is a full-blown hyperpop closer. It’s an enjoyable one, but it leaves a bit to be desired. The synths are less explorative, the vocal delivery during the verse is somewhat bland, and —most importantly— the breakdown at the end is honestly obnoxious. Here, the turntable scratches and melodies are cheesy and completely break the melancholic distortion-ballad mood of the rest of the song. Having said this, even if these things keep it from being great, it’s still a strong effort that is just a bit lacking in direction.

Low 7.