4/5
Killing Me Softly.
A bedroom door opens into the water and Billie Eilish falls into a kind of blue. And with that, legendary like Joni, she enters the best year of music in 2024, heading for home alongside fellow big-hitters like Taylor Swift ('The Tortured Poet's Department'), Beyoncé ('Cowboy Carter'), Maggie Rogers ('Don't Forget Me'), St. Vincent ('All Born Screaming') and Norah Jones ('Visions'). Nine Grammy's later and this is only the third album for the 22-year-old who has already amassed such a legacy that decades and decades from now she'll be like Dolly, or Aretha, to be frank like Adele. But what a big one, 'HIT ME HARD AND SOFT' is in all-caps as we get ourselves a 'Bad Guy' who can do both. After her definitive 'When We Fall Asleep, Where Do We Go?' debut took over the world and the theme tune to the latest 'True Detective' season 'Night Country', starring Jodie Foster and Kali Reis, the blonde on blonde of a 'Happier Than Ever' smouldering sequel was exactly that. Then, last year, she changed that game again with the Oscar winning and heartbreakingly moving 'What Was I Made For' from the Great Gerwig and Margot Robbie 'Barbie' movie that did the same to the world. Now if that wasn't enough, we have a Holy Trinity of studio albums. As Billie gets her J.Cole no guest feature on, best in the game like the Jordans and jerseys she rocks on stage, to release one of the biggest and best albums of the calendar without a single single to its name.
Hard and soft, 'LUNCH' could be your lead though as Eilish eats. "I could eat that girl for lunch/Yeah, she dances on my tongue/Tastes like she might be the one/And I could never get enough." Seemingly revealing one side of her sexuality, which she thought wasn't news to anyone, even though it wasn't any of our business anyway. But this is one of the most lavishing lyrics of one of the most beautiful and underrated parts of sex (FELLAS!) since the wild 'Horses' of Maggie Rogers couldn't be dragged away from reminiscing about giving head. This snack comes after the 'SKINNY' love of an outstanding opener, that shows yet again the family affair of Eilish and Finneas is the best songwriting duo since Bennie and the Jets. All the way to the compelling closer of the artwork of the best 'BLUE' that transitions better than a 'Star Wars' scene. But it's the flocking together on 'BIRDS OF A FEATHER', like a Netflix 'Heartstopper', that really takes wing on a highlight and a prayer, this way, as Billie broods, "I want you to stay/'Til I'm in the grave/'Til I rot away, dead and buried/'Til I'm in the casket you carry/If you go, I'm goin' too, uh/'Cause it was always you (Alright)/And if I'm turnin' blue, please don't save me/Nothin' left to lose without my baby." Death does not do this love part.
Tower Record CD collectors may wish 'Barbie' was boxed as a bonus, but this is just a new epic era for Eilish. Billie's version of blockbuster pop, so subtle and beautiful in its delivery, is decadent. Much like the classic 'CHIHIRO' on these top ten tracks, or the boundless bloom of a 'WILDFLOWER' that is so mature beyond her years, but in mastering her sound is only just beginning. Now doesn't that sound like 'THE GREATEST', like, "Man, am I the greatest (Greatest)/My congratulations (Congratulations)/All my love and patience/All my admiration (Admiration)/All the times I waited (Waited)/For you to want me naked (Naked)/I made it all look painless/Man, am I the greatest." The best actor, like trying to keep it cool when love compels you to play the fool. And the Oscar goes to. 'L'Amour de ma vie' with a French kiss you don't want to miss. Classic new Americana in 'The Diner' with lonely company like a painting from Hopper. This is art. The kind you can't pick apart. With her first album, Billie Eilish changed the landscape of popular music like Eminem. With her second, she tried a classic songwriting sound that everyone from Lana to Sinatra would be proud of. Now the third charm is a synthesis of both styles for the sweet spot. 'BITTERSUITE?' Then how about these words, "You seem so paralyzed/It's so romanticized/If this is how I die/That's alright?" Sonically soft-core, nothing hits harder. TIM DAVID HARVEY.
Playlist Picks: 'LUNCH', 'BIRDS OF A FEATHER', 'BLUE'.
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