Mitski has come a long way from releasing her 2012 debut album as a student at the Purchase College music school in New York. Ten years, and four full length albums later, Mitski Miyawaki is a bona fide indie rockstar, slotted to open for Harry Styles in the UK later this year and releasing her sixth album “Laurel Hell” in the beginning of February.

Masterful and polished production abounds on “Laurel Hell.” Mitski’s signature vocals take center stage, as powerful and emotionally moving as ever, feeling almost three-dimensional on each track. Synthesizers provide a background for almost every song on the project, from the pulsing electronic bass of “Everyone” to the twinkly interlude found on “Heat Lightning.” Drums on each track range from simple drum machine backing tracks (“Everyone”) to complex, syncopated patterns clearly played by a skilled percussionist (“There’s nothing left here for you”).  Each of the songs on the album unashamedly pulls elements from the same curated sonic palette yet manages to maintain a distinct identity. Songs range from somber (“Working for the Knife”), to upbeat and poppy (“Stay Soft”), to cinematic (“Heat Lightning”), to triumphant (“That’s our Lamp”). Most instrumentals on this project are heavily layered without overwhelming the vocals, always leaving something new to discover on a second, third, or twelfth listen.

Lyrical content on this album is tinged with melancholic lines that remain abstract, avoiding specific details. For example, on “Working for the Knife” Mitski laments stagnation, crooning “I always knew the world moves on, I just didn’t know it would go without me.” In “Valentine, Texas” Mitski paints a haunting picture of a place that seems like it couldn’t possibly exist by singing “let’s drive out to where dust devils are made, by dancing ghosts as they kick up clouds of sand.” These lyrics are open to interpretation, providing plenty of room for listeners to project their own sadness, shortcomings and nostalgia into each song. Very few songs follow a traditional structure, with only a handful having full choruses. These frameworks lend themselves well to Mitski’s songwriting style, making the tracks on this project feel more poetic than anthemic.

Despite “Laurel Hell” being a joy to listen to, it does have a few shortcomings. The record definitely plays it safe with production, opting for the 80’s synthpop sound that has seen a resurgence recently with artists like The Weeknd and Bleachers. Mitski’s production in the past has been experimental and daring, and while every track on Laurel Hell sounds incredible, the album doesn’t break nearly as much new ground as other releases in her discography. “Laurel Hell” also clocks in at just over 30 minutes with 11 tracks total, barely feeling like a full-length release. While this runtime is standard for most Mitski releases, I feel that this hinders the album somewhat, with some songs ending just as they start to gain momentum.  However, these flaws do little to mar the experience of listening to “Laurel Hell,” which proves to be a stellar addition to Mitski’s discography.

Rating: 4/5

Favorite Track: Heat Lightning