Song of the Week: Billie Eilish Embraces Her Cravings on “LUNCH”
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The post Song of the Week: Billie Eilish Embraces Her Cravings on “LUNCH” appeared first on Consequence.
Our weekly column Song of the Week spotlights the greatest new tunes each week. Find these new favorites and more on our Spotify Top Songs playlist, and for other great songs from emerging artists, check out our Spotify New Sounds playlist. This week, Billie Eilish throws out the recipe book.
Vulnerability is the core of a Billie Eilish song, from the raging release of “Happier Than Ever” to the tender disillusionment of “What Was I Made For?” A large part of the reason her music resonates with such a noticeable chunk of her generation — beyond the sonic inventiveness she and her brother FINNEAS tend to employ — is her lack of filter.
With “LUNCH” specifically, and her third LP, HIT ME HARD AND SOFT, generally, Eilish has stepped into a new threshold of honesty. Since coming out as queer and identifying herself as “for the girls,” Eilish has continued to be candid, and this new album digs into the rise and demise of a relationship that clearly left her deeply affected. One thing about heartbreak, though, is that once the dust has settled, there are inevitably gems to be mined creatively.
“LUNCH” arrives as the second track on the album, rooted in the earlier stages of a relationship where lust and comfortable bliss intertwine. The track is playful and refreshing, showing off a vibrant side of Eilish we don’t always get to see. She tiptoes into outlaw territory with Western-adjacent reverberations from the guitar, all while a danceable beat keeps the energy high. “She’s taking pictures in the mirror/ Oh my God, her skin’s so clear/ Tell her bring that over here,” she sings, and her smile is practically audible.
As an artist who carved out a space for herself in music that often involves breathier, lower parts of her register, it’s wonderful to see Eilish lean into a number of different vocal choices throughout HIT ME HARD AND SOFT. Fingers are still crossed for a jazz album someday, but in the meantime we get to relish in the growth and experimentation from an artist who has been in the spotlight since she was barely old enough to obtain a driver’s license. If “LUNCH” proves anything, it’s that Eilish has only just begun.
— Mary Siroky
Contributing Editor
Honorable Mentions:
DARUMAS — “Mago”
Try not to immediately fall in love with Latin funk trio DARUMAS — I dare you! The joyful energy across the band’s freshly delivered self-titled debut album is palpable and contagious, and “Mago,” today’s single, is especially charming. The summery brightness, breakdown on the bridge, and horn section on this song are as enticing as they are perfectly executed. Start here, then proceed to enjoy the rest of the album. It’s all worth it. — M. Siroky
From Indian Lakes — “I Lay Different”
The Joe Vann renaissance is upon us — not only have we gotten a great debut single from his collaborative project Hard Chiller, we have a brand new From Indian Lakes album called Head Void, and it’s undoubtedly the musician’s strongest offering yet. Though there are dozens of majestic moments ridden throughout Head Void, one of the most indelible tracks arrives in the back half with “I Lay Different.” The track, which is nearly drumless (save for some cymbal and rim-tapping), takes a psychedelic, evocative guitar riff, generates momentum, and blooms into a gorgeous, gripping climax. Vann’s voice, as always with From Indian Lakes, is gorgeous, familiar, pure, and powerful. — Paolo Ragusa
Nathaniel Rateliff & The Night Sweats — “David and Goliath”
Nathaniel Rateliff & The Night Sweats have shared the second taste of their upcoming studio album, South of Here. Effortlessly nostalgic in sound, the marching beat supports emotional storytelling from Rateliff as he unpacks anxieties and emotions: “I want to be different now/ A square peg feeling round,” he admits. Chord progressions feel slightly askew, forcing the listener to pay close attention, and the final result is something urgent and strong. — M. Siroky
Orla Gartland — “Little Chaos”
“If you really want me, take me as I am,” implores Orla Gartland on her latest, “Little Chaos.” Alternatively hushed and explosive, the track effectively captures the feeling of surrender, an idea Garland echoed in a statement about the song. “I can be loud, funny, clumsy, loyal, intelligent, annoying, caring, angry,” she explained. “This song is about showing up as all of it, all at once.” Anyone who could use the reminder that it’s okay to take up space should turn the volume up on this one today. — M. Siroky
SHAED — “Maybe I Don’t Know How”
SHAED are back with an excellent new track, “Maybe I Don’t Know How,” and the trio sound deeply inspired. The layers that make up “Maybe I Don’t Know How” are minimalist in their essence, but when each of them line up, like in the final chorus, it’s pure majesty. SHAED have been very carefully expanding their sound lately, as evidenced by their terrific earlier single “Everybody Knows I’m High.” But even with their embracing of the new, they still find ways to display their fine-tuned ears for good hooks, gorgeous arrangements, and strong storytelling. — P. Ragusa
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Song of the Week: Billie Eilish Embraces Her Cravings on “LUNCH”
Mary Siroky and Paolo Ragusa
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