Melanie Martinez leans into the depths of 'HADES' — Album Review

Recommended tracks: “GARBAGE,” “AVOIDANT,” “WEIGHT WATCHERS,” “GUTTER”
Similar Artists: Ashnikko, Lana Del Rey, Jazmin Bean, Mitski

Leaving behind the persona of Cry Baby, a character prominent over the last three albums within Melanie Martinez‘s discography, we now emerge into the depths of an ethereally complex and eerie Pandora’s box of present-day problems on HADES. This 18-track album was released March 27. Following a new character named Circle, this album sonically personifies the phrase “End Times,” being politically-driven and critiquing society with lyricism hitting close to home for many listeners and longtime fans.

Opening the album, we’re met with the fierceness of “GARBAGE,” a song emulating the vibes of Kate Bush‘s “Army Dreamers.” This song delves into the senseless violence within the current American society and the governmental surveillance: “Violence ablazing, gunshots replacing the sound of the church bells and hymns / ‘White Jesus, save me,’ / you’ll scream like a baby / Your water is cheap bottled wine.”

A handful of tracks within the album touch upon the female experience and topics of forced perfection (“POSSESSION”), the societal pressure to be physically attractive (“WEIGHT WATCHERS,” “UNCANNY VALLEY”), harassment and death threats from people on social media (“CHATROOM”), and trauma inflicted upon women yet never taken accountability for (“IS THIS A CULT”).

Some similar tracks, yet more complex in execution, include “DISNEY PRINCESS,” “MONOPOLY MAN,” and “GRUDGES.” These represent oppositions to one another: “DISNEY PRINCESS” talks about the exploitation of young girls within Hollywood, being forced into demanding contracts by their agencies and even their parents. It also confronts over-sexualization and predatory behaviors, which Martinez relates to in her own life when she first came into fame. “GRUDGES” embodies the feminine rage felt after such abuse as a means of letting go of the people who’ve hurt and used her. She extends this idea into “MONOPOLY MAN,” while also expressing frustration about capitalism and prioritizing money over people and art.

Getting more emotional with tracks such as “AVOIDANT” and “MONOLITH,” we see Martinez go into details of toxic and abusive relationships, falling in love with emotionally unavailable partners, and the harm caused by trying to change yourself for said person to continue loving you.

Switching over to modern political issues, tracks such as “WHITE BOY WITH A GUN,” “THE PLAGUE,” “GUTTER,” “THE VATICAN,” and “HELL’S FRONT PORCH” tap into the controversy around racism and discrimination, harmful religious ideals, and the exploitation and displacement of the poor. She also touches on the effects of COVID and climate change through vivd metaphoric imagery and elegant vocals.

One thing about Martinez is that she will never shy away from controversial topics that we may encounter in our daily lives. She brings to light the most prominent problems that many tend to avoid. Not only is this a true testament to her awareness of her influence, but she allows herself to also lean into discovering how to use her unique and evolving sounds to convey these messages. A round of applause is well deserved for such a masterful and touching album.