Caroline Polachek's new album gets our highest rating of the year so far | Review by violet_by_hole | carolineplz
In the wake of Chairlift’s dissolution, Caroline Polachek tried her hand at a solo project. After trying out various aliases, she ultimately settled on her own name. Her eventual debut,, dropped in late 2019 and was produced primarily with Danny L Harle. The album, at once modern and bucolic, saw Polachek exploring the joys and anxieties of new love.
. Polachek’s sophomore effort sees her grapple with feeling limited by physical space and by our corporeal forms—she wants not only to be near someone she loves but become a physical part of them.is just as esoteric musically. Its songs pull from genres as disparate as drum and bass, dembow, and flamenco while Polachek and Harle festoon them with baroque instrumentation—bagpipes, church bells, organs, and a children’s choir.
“Crude Drawing of an Angel” depicts Polachek trying to savor a moment. She knows she’s about to be pulled away from someone she loves. Amidst a sunken atmosphere and hollow percussion, she is starry-eyed, hurriedly sketching a mental image. When her seraph is gone, she’ll have this to remember them by. “Crude Drawing” also contains what is undoubtedly music’s most stirringreference.
Album opener “Welcome To My Island” cheekily mocks Polachek’s own interiority while sounding like the number one song on Uncanny Valley’s pop station. Dayglow synths twinkle in the background as she deadpans “Welcome to my island / Hope you like me / You ain’t leaving.” The only voice accompanying Polachek is a cheerleader chanting backup vocal of “Hey! Hey! Hey! Hey!” cobbled together from the intro of’s acoustic ballad “Look At Me Now.
Fans of Polachek’s cover of The Corrs’ 2000 hit “Breathless” are sure to be enraptured by “Smoke.” A mainstay of her setlists since 2021, “Smoke” appears here with a robust arrangement and a pulsating beat; there are new things to grab onto, even if you’ve been watching grainy iPhone footage of it online for years. Taking the perspective of someone in denial, choosing to carry on with a doomed relationship, its opening lines are a subtly funny image context.
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