Punisher and Why it is my Album of the Year... Already
Every few years, we come across a singer-songwriter who is so devastatingly assured in their talent that they come to be generation defining. Their songs are synonymous with the era they’re written in, with the themes they discuss. Names like Bob Dylan, Stevie Nicks, and Amy Winehouse come to mind. This weeks’ release of “Punisher,” the sophomore album by Californian indie-rock icon Phoebe Bridgers has solidified her name on that list.
From her first note of her first album ‘Stranger in the Alps’ in 2017, we could see -or perhaps more fittingly, hear- that Phoebe is a force to be reckoned with. Her distinctive, haunting vocals from that album have made the soundtrack to many summers since, and many films to match. ‘Motion Sickness’details the emotional abuse of a relationship the then twenty-two-year-old musician had with Ryan Adams, an established voice in the alternative rock scene. In the years since, numerous allegations of sexual misconduct against Adams have come to the public’s attention. This only further points to the bravery of Bridgers’ in writing and releasing such a poignant track so early on in her career.
Thematically, Stranger in the Alps touches on death, depression, emotional abuse and heartbreak, without ever verging into the cringe or the cliché. Bridgers’ raw, honest vocals and song-writing skill make it a strangely comforting experience to listen to, and an album that is as melodically beautiful as it is lyrically heart wrenching. You would be forgiven for thinking that it’d be too impossible an act to follow, especially for an artist so early on in her career.
“The future’s unwritten, the past is a corridor.” – Smoke Signals, 2017
Ms Bridgers swiftly followed her solo debut with 2018’s Boygenius and 2019’s Better Oblivion Community Center. The former, a collaboration with Julian Baker and Lucy Dacus, played into the strengths of all three musicians, resulting in a fusion of indie-rock and folk-rock, and giving Phoebe ample opportunity to release more of the distinctive poetic lyricism that have become synonymous with her name. The blend of the three genres and voices is a beautiful and haunting EP that has aged with Ms Bridgers and become a defining moment for her career.
The latter, Better Oblivion Community Center, is a duo consisting of Phoebe and long-term friend and collaborator Conor Oberst. Their self-titled debut album loosely is themed around a dystopian wellness centre of the same name. The record is coherent, creative and once again plays to the strengths of both musicians, their voices complement each other beautifully, despite or perhaps because of the contrast in their styles. The album is undoubtably a feat of production, and plays into elements of electronic and country music, for the first, though evidently not the last time in Phoebe’s discography.
“So sick of being honest / I’ll die like Dylan Thomas” – Dylan Thomas, 2019
Which brings us swiftly on to 2020, the year of COVID, contradictions and confusion for all of us. Punisher, Phoebe Bridgers’ sophomore album was released on June 18th, at the perfect intersection of lockdowns lift and the beginning of summer. The release itself coincided with a time of social upheaval across the US and further afield, prompting Bridgers to move the official release date a day forward from ‘Juneteenth’, the official end of slavery in the US. Across her social media profiles, she prompted her fans to donate to organisations seeking racial justice.
"I'm not [delaying] the record until things go back to 'normal' because I don't think they should,” – https://twitter.com/phoebe_bridgers
The album opens with the instrumental track, ‘DVD Menu,’a seventy-second long, vaguely ominous string-led instrumental reminiscent of the video-game themes the artist would’ve grown up with in the early 2000s. It provides the perfect anticipatory build up into lead-single ‘Garden Song,’ a prospective looking, dreamy love song. Initially released on February 26th, 2020; Garden Song acts somewhat as a sequel to Stranger in the Alps’ Smoke Signals. It follows thematically, melodically, and continues Phoebes’ established lyrical poeticism. Like Smoke Signals, Garden Song is slow, but enthralling. The melody makes you want to listen, the lyrics make you want to fall in love.
Following on from this is second single, and third song, ‘Kyoto,’ in sharp contrast to the slow, strong self-awareness of the earlier songs, Kyoto presents a whirlwind of emotions, an aural dissociation of sorts. Kyoto is fast-paced, guitar led, and even difficult to follow. Almost anxiety-inducing, Kyoto is an exciting accomplishment of alt-pop. Phoebe’s strong descriptive lyrics manage to change themes between and even within verses, suggesting a struggle between her inner and her outer self, and how this same struggle bleeds into her relationships with others.
In musical circles, a ‘Punisher,’ is a name for an overzealous fan. The titular track of the album places Phoebe herself in this role. The song imagines a conversation between Phoebe and an artist she clearly admires very much. It is the first piano-led track of the album; and marks a contrast with the prior songs as she is able to outwardly express her emotion and feelings in the song’s narrative for the first time. While this is essentially a song to a stranger, it is marked with Phoebe’s distinctive emotional lyrics and vocal; and retains the same charge of emotional attachment that has become so characteristic of her discography.
Following this is ‘Halloween,’ a song that plunges us immediately into Phoebe’s narrative and lived situation. Utilising picking on guitar strings to produce the holiday season of the song’s setting sonically, Ms Bridgers takes us into her loveless relationship just in time for ‘cuffing season,’ and the all too familiar feeling of holding on to something that isn’t there, just because of the time of year. The melancholy is only furthered by the repetition in the song’s latter half by Conor Oberst, collaborator and Better Oblivion Community Centrebandmate.
Fan-favourite, and a personal favourite of mine, ‘Chinese Satellite,’ reflects on loss, and grief. Musically, it builds, starting slowly with a single guitar line and Phoebe’s vocals. By the end of the first verse, both the guitars and vocals have been layered, producing a haunting effect only furthered by the synth and drums of the latter half of the song.
Lyrically, Phoebe starts out questioning her circumstances, wondering why this unnamed event has occurred. She later turns this uncertainty onto herself, questioning her own lack of faith. Finally, she remembers memories of herself with the person who has been lost, and in retrospect, she yearns for the belief that she will see them again. This yearning that closes the song is accompanied by a drum, once again paired only with her voice, that is sonically reminiscent of a heartbeat. Chinese Satellite has provided a great comfort to me personally in a time of great loss, and while I know I am calling it extremely early I do not doubt it is my song of the year.
“Moon Song” follows, and it is a love song to someone facing issues with their own self-esteem. With beautifully raw production, the tough scratch of an acoustic guitar provides contrast to the soft and kind vocals. The song provides some of the best lyrics of the album, or perhaps of her entire discography, and in doing so, manage to make a fairly specific story of love through mental illness and self-deprecation accessible to Ms Bridgers’ broad audience.
‘We hate ‘Tears in Heaven’ / But it’s sad his baby died’ – Moon Song, 2020
This theme of a somewhat doomed relationship continues into ‘Savio[u]r Complex,’in this similarly acoustic ballad, orchestral strings pitched above Phoebe’s voice play further into the melancholy and toxicity described throughout the songs’ lyrics. Her use of metaphor and allegory throughout the song helps retain the accessibility of the otherwise characteristically dark lyrics, her strong descriptions throughout playing into the same emotions of Stranger in the Alps’ ‘Funeral.’
‘ICU’ initially released as ‘I See You’ due to the timing of the COVID crisis, was the final single released before the album, on May 19th,2020. It is a typically Phoebe Bridgers’ breakup song, one that acknowledges the love that she’s losing. Starting with a soft scream, literally, the songs’ vocals are raw over a distorted synth background. Sonically, the song is a mesh of all of the components of the songs preceding it, building to a climax before dropping out just in time for the final verse. This is, in my opinion, the best single, and one of her best to date.
Penultimate song ‘Graceland Too’ swings the album in a bluegrass direction, and in doing so, provides an ode to the influences Bridgers has taken from the genre. Its title references Elvis Presley’s ranch and tourist attraction of the same name. The song features her Boygenius bandmates in its latter half, resulting in an admirable melody not dissimilar to their EP.
The album closes with ‘I Know the End,’ an anthemic ballad that falls just short of six-minutes long. It begins telling different stories, centring around episodes of low-mood and depression, the causes of which are implied consistently to be related to the stresses of touring and the musician’s lifestyle. These stories are told over a guitar-led melody, initially pitched to be much quieter than the vocals. A feat of production, the messy string melody gains traction as the song progresses, building over the first half of the song in pitch, volume and number of instruments. Around the two-minute mark, the song is split by an instrumental, and when vocals return, they bring with them an increasing sense of urgency. The latter half of the song details a road trip Phoebe takes and pays heed to the sights and sounds she encounters throughout.
The song, and thus the album, concludes with a chorus of vocals repeating ‘The End is Near,’ over a chaotic melody of all sorts of instruments and assorted sounds, before descending into shouts and screams from Phoebe and friends in the last number of seconds.
I don’t even believe I need to clarify this, but just in case you have any doubt, this album is my favourite of the year so far. 10/10











