Healy's Force of Nature Is Exactly That, A Rising Tide of Indie Pop
Photo by Aaron Mendoza
A hiatus can be a scary thing for fans to hear about their favorite artist. What if they never come back? Or worse, what if they come back and they're just not the same or put out something subpar? Luckily, for fans of Healy, his time away was not in vain. His growth as an artist, and more importantly, as a person, is evident in his new collection. After going sober and receiving his doctorate, Healy is ready to take his buoyant indie-pop sound, melded with groovy R&B beats, to the next level. This collection is a testament to his growth, a self-sustaining ecosystem that encompasses elements of all these genres. At its core, it's a pulsing, gorgeous suite of eight tracks replete with thunder, shifting tectonic plates, and young love, showcasing Healy's impressive evolution.
Opening track, "HELL OR HIGH WATER," is mesmerizing. storm-brewing, atmospheric synths, understated percussion, and warm guitar riffs set the scene with allusions to Memphis and these forces of nature at the forefront, evoking a hopeful energy as if he's taking control over his life. On the opening line, he declares his commitment to his partner, proclaiming,"' Til the levee breaks, baby I'll ride with you." As the song progresses, the armor of their relationship cracks and breaks from several blows of being broke or doubtful of whether they're with the right person or wasting their time, or vice versa. Despite this, they find their resolve and his dreamy vocals deliver the line, "Hell or high water/We'll make it, make it out alive/ Hell or high water/We'll get it right this time."
"RUNNING LAPS" is a beautiful exploration of self-sabotage, the struggle to break old habits, and the yearning for self-reinvention. The track's opening collage of summery rhythm guitar riffs and upbeat, pop-infused percussion starkly contrasts with the lyrics' more melancholic mood. Healy vulnerably depicts a troubling mental state, whereas the song's overall tone is optimistic and lively, instilling a sense of hope in the listener. This creates a mesmerizing paradox between the excitement of growth and healing and the all-too-real struggle to move on from past feelings and tendencies. His warm, vibrant vocals croon lines like, "Am I running from it / Or am I running laps?" and "Begging the sky for rapture / Anything to get me to the next chapter / Won't put up a fight, it don't even matter," effortlessly guide the listener through the arrangement, showcasing Healy's impressive vocal range, from his rich, deep tone in the verses to his charming, brighter tone for the higher melodies in the bridge and hook.
On the leading track, "SELFISH," Healy weighs the pros and cons of his life and sharing it with someone in this euphoric effort. As the intricate and bewitching instrumental washes over, he narrates how his lover wants to share the wealth, and it seems as though Helay is battling with staying on board, holding on tight, and dealing with the compromise or jumping ship. His subtle, yet sneaky, rap verse emphasizes this feeling of frustration and his emotions pour out on lines like, "There's enough of you for the both of us/I'll admit It's just difficult to adjust/ Sure he's nice, he's not my type/ But you contain multitude holding two souls at the very same time."
Coming full circle, "THIRTEEN" takes us back to Memphis and serves as an ode to young love. The track, originally by Memphis band Big Star, opens with a more tender, stripped-back arrangement. Healy sees their partner for who they really are and realizes that his actions do have ramifications, even some he may never see. He asks them, "Won't you let me walk you home from school?" "Won't you let me meet you at the pool?" he follows, again treading lightly so as not to scare her away. He eventually suggests a date at the dance on Friday; "And I'll take you," he delicately sings, as if anything more forceful than a gentle plea will destroy his chances. By the end of the song, Healy's love remains both rigidly unknowable and frustratingly proper. His concluding lines redeem him in terms of his integrity and honor, even as they suggest that he's losing his opportunity with her in the process: "If it's no, then I can go/ I won't make you." The final "Ooo-hoo" that Healy utters is a real killer, tinged as it is with the sting of implied refusal, and it bookends the album beautifully with love.
