Phoebe Bridgers - "Punisher" (2020)

I know next to nothing about the indie folk scene, with my only experience with the genre being listening to Neutral Milk Hotel's In the Aeroplane over the Sea once several years ago and not really getting it. However, Punisher kept cropping up high on loads of publications year end lists, and combined with the gorgeous cover art and seeing a friend listening to it on Spotify, I was intrigued enough to pop it on over Christmas. It's such a deep yet gentle record that it has been in my heavy rotation ever since, and I'm slowly sinking into its atmosphere and themes with every additional listen.

On the first few listens I was instantly gravitated to Bridgers' personal and introspective lyrics, that are jammed packed with evocative imagery mixing the mundane everyday with elements of morbidity, the supernatural, sci-fi and spirituality. This imagery is supported by really gentle but intricate folk instrumentation that's been produced in a washed out, ephemeral way that makes the record sound like a lucid summer daydream where time feels warped and reality feels blurred and smudgy (much like 2020 as a year). I wasn't as initially hot on the production of the record as I listened at home on my laptop speaker, as I thought it made the songs lose some of their individuality that was provided by the songwriting; but as I came back to uni and listened through a better speaker I realised that it sounds beautiful and actually a crucial element to the emotional intensity of these songs. It makes the slightest increase of clarity and intensity in the instrumentals feel so much more overwhelming. A great example of this is Halloween, a really haunting ballad where low rumbling drums pop in about half way through and just add so much tension to the track despite them being actually very gentle and restrained.

A few of the tracks include elements of chamber folk and chamber pop, making them easily the most uplifting and uptempo of the tracklist. The single Kyoto is this really cute indie rock tune where Phoebe opens singing about her day off from touring in the city, where she uses the idea of payphones being outdated to launch the track into her tumultuous relationship with her father. The track so effectively conveys the complexity of their relationship, flitting between emotions and scenarios. On the chorus she sings "I'm gonna kill you, if you don't beat me to it" backed by triumphant and grandiose horns, which provides a real emotional dissonance but also a sense of bitter-sweetness and joy and makes it effortlessly replay-able and enjoyable. ICU is similarly emotionally dissonant with an upbeat, uptempo swell to it, and on first listen it sounds like a cute love song about an imperfect messy relationship, yet the song is actually about a break-up where Phoebe continued to see this person all the time afterwards, with the title being a play on 'I See You' and intensive care units (ICUs).

The only other overtly loud and dramatic track is the closer I Know The End. The track is in essentially two parts, the first being one of the most soothing and gentle moments of the record. The tones are warm and Phoebe's vocals feel very tired and sleepy, and alongside the dislocated lyrics reflecting the mental confusion of global touring, it sounds like the record is winding down. However, towards the end of this section you can feel the intensity growing, before the track switches - Phoebe wakes up, blaring triumphant horns crash in and the lyrics become more anthemic as backing vocals come in. The track then starts to descend into madness as the horns become more and more dissonant and Bridger starts to wail and scream. It's such a contrast to the rest of the record and leaves a lasting impression that makes you just want to put it straight back on.

The rest of the record is comprised of very gentle, cerebral tracks which feel like they're slowly seeping into my bones. The record opens with the sinister and atmospheric DVD Menu which leads into the first proper track, Garden Song. The instrumental on the song is so watery and murky, with the only clear elements being Bridger's vocals and the plucked lead guitar. The track describes this garden that Bridger's explores as she introspects about herself and others. Halloween is one of my very favourites on the album, as Phoebe begins the song discussing how she hated living by a hospital with some really morbid imagery delivered in a semi-creepy deadpan way. The track then moves on to the idea of Halloween and costumes as something that she can hide behind like she feels the need to in her relationships. The instrumentation of the track is linear, starting with just an eerie plucked guitar before gradually building to its subtle crescendo. Chinese Satellite similarly has an entire verse dedicated to how Phoebe would go to the extremes of joining an evangelical church and picketing in the streets just to see this person, who has passed away, again. Savior Complex takes a more sarcastic approach to the themes of failing relationships. "I'm too tired, to have a pissing contest" she sings in the chorus. The sweet acoustic instrumentation and Phoebe's sincere vocals really compliment some of the more aggressive lines in this track.

Punisher is such a quality album with so much depth and subtlety to both the instrumentals and the lyrics and themes. It continues to grow on me with every listen, and feels so cathartic to listen all the way through. 

Top Tracks: DVD Menu, Garden Song, Kyoto, Halloween, Chinese Satellite, Savior Complex, ICU, I Know The End

9/10