Sadness in the Wild West

Mitski is not a new name to see in the music world. Since 2012, she has been creating melancholic works of art, using her songs as an outlet for an array of emotions. In her seventh album, The Land Is Inhospitable and So Are We, she continues to excel at using poetic language to convey feelings that are almost indescribable. Her signature style of songwriting and storytelling continues to thrive within this latest release. However, her lyrics are not the only important aspect of her sound. 

At first listen, The Land Is Inhospitable and So Are We is very reminiscent of old Western music. The music falls right into the soundtrack of a drama movie set in the country. This may not be everybody’s cup of tea as it is not Mitski’s usual style. In the past, she has leaned into poppier melodies, with a majority of her popular songs being upbeat. This newest album, for the most part, is slow and gentle.

The first track, “Bug Like an Angel,” begins the album with nothing but acoustic guitar and a bassline that fits in so well it is barely noticeable. The reverb-heavy vocals lull the listener into a calm state. At points in the song, gospel like chorus breaks make their way into the mix suddenly but without completely throwing the listener off. These unexpected moments are welcomed in this mellow track. Opening an album with such a slow song does pose the question of whether or not it will catch a listener’s attention well enough to keep them listening. The song in itself is not boring but it does not house any new or exciting attributes. It’s generic, yet comforting.

As the album progresses, Mitski continues with the warm bluegrass-inspired theme. In songs like “Heaven” and “The Frost,” a slide guitar has its moment to shine, creating a setting you can picture clearly in your mind. Mitski’s artistic choices in The Land Is Inhospitable and So Are We also range from grungey tunes to theater-like ballads such as “Buffalo Replaced” and “When Memories Snow.” These songs are an example of how listeners might be turned away from the album. This jumble of genres is not for everyone and Mitski is leaning heavily toward country and acoustics this time around. However, the music is still undeniably Mitski.

One thing Mitski does very well in this album (and a majority of her work) is expressing her intentions and clearly portraying the story she wants to tell. She takes her time as her vocals seem to be going at her own speed, not necessarily following the beat of the music. In addition, her lack of rhyme supports the idea that her lyrics are narrative stories rather than a string of words to fit into the typical lyricism style of popular music. The sound behind the words is clearly very detail-oriented. In the ninth track, “Star,” twinkling synths come in strong, dancing around the ears of the listener, connecting the lyrics to the sound. Another example of this is in the tenth track, “I’m Your Man,” when sound bites of dogs barking bring the song to a close. Everything in her music is done intentionally, relating it back to the overarching theme of the song. Mitski’s attention to detail is definitely something to appreciate.

Even though the album is generally slow and at times unexciting, it is a worthy listen. Mitski’s dramatic emotions and powerful vocals deliver her messages as they come across-profoundly important. The intensity and passion with which she performs her music make even the slowest songs worth it.