Review: Billie Eilish - HIT ME HARD AND SOFT

Though a prominent figure in mainstream pop music, Eilish continues to build her genre-defying catalogue

Three years since her sophomore album, Happier Than Ever, Billie Eilish is back with her follow up effort and potentially most personal, HIT ME HARD AND SOFT. Despite being a pop music mogul, Eilish and her brother - core collaborator and producer, Finneas - demonstrate no intention to follow genre-specific rules when it comes to crafting their work. With experimentation ranging between rock, classical, pop, hiphop, and EDM, the album not only exhibits Eilish’s versatility but impressively maintains solid cohesion despite such a vast sonic range.

Taking to Instagram on the day of the album’s release, brother Finneas expressed to their fanbase that “we make everything with you in mind”. Such could be the case when noting Eilish’s vocal range throughout this album, exhibiting a power that is often unrealised by those who do not follow her career and constantly craved by those who do. Having experienced subtle capabilities of this on 2020s No Time To Die - Eilish’s Bond song for the film of the same name - it feels like an appropriate time for the Los Angeles native to fully express the scope of her inherent instrument.

Opener SKINNY exhibits a stripped-back composition with accompanying lyrics narratively reflecting the same level of intimacy. Whilst topics of body dysmorphia, fame struggles, and the demise of a relationship are explored, the most striking line addresses the fickle mentality of the music industry, with the singer asking “am I already on the way out?” despite being merely 22 years of age. Such content portrays a vulnerability that feels much more prominent in comparison to that of her previous work. However, following track LUNCH with its percussive and bass-heavy arrangement does in fact match a feel similar to my strange addiction or Oxytocin from respective earlier albums. Sadly, the song falls short with it’s overtly sexual lyrics; given that she has proven herself as an intricate lyricist, this particular effort feels unnecessary and - whilst evolution is great - a little too off brand.

CHIHIRO - named after the protagonist of Hayao Miyazaki’s Spirited Away - reintroduces fans to the Billie they are used to. Interestingly, this is not the first reference to the Japanese classic in recent times, with Irish singer CMAT incorporating it into her 2023 song Rent, expressing her inability to watch the film since the end of her relationship. Eilish also hints at a troubled relationship on the unearthly bridge of the track, grappling with just how little she knew the person who she sings of. Contrastingly, the most radio-friendly component of the record, BIRDS OF A FEATHER takes the shape of a nice, pop-infused love song that one may adopt as their song of the summer, even if it could and should be longer. Focusing on the concept of eternal love, it would be no surprise if this becomes a classic within Eilish’s discography when picturing audiences singing it back to her on tour.

However, such romantic assurance does not last long with WILDFLOWER - a song that would fit nicely on the singer’s 2022 EP Guitar Songs - portraying a deep sense of insecurity within a new relationship. It is moments like this that reinforce just how unguarded Billie Eilish has chosen to present herself on this album, suggesting a new sense of confidence and maturity. THE GREATEST continues to reflect this through the retelling of a one-sided relationship where her “love and patience [was] unappreciated”. Similar to the enticement of BIRDS OF A FEATHER, it feels this song will also grow to be a live fan favourite with its unapologetic dichotomy of rock and orchestral arrangements, streamlined by potent vocals.

L’AMOUR DE MA VIA, a self-confessing lie about being in love, offers an eclectic sound both musically and vocally that could fit the tone of Amy Winehouse or the many 60s girl groups who inspired her legendary Back to Black album. With so many perspectives about being in love on the album, questions are raised as to whether Eilish loses focus of the angle of relationships she wants to explore, or whether she is exemplifying their messy, non-linear nature. In the second part of the song, Finneas’ impressive production executes an 80s-inspired sound replicating that of Pet Shop Boys which further transforms into something reflective of early 2000s clubland. Strangely, this stark contrast works, and although intense autotune is utilised throughout the latter, the track maintains an admirable level of artistry.

As stated on her 2021 single NDA, Eilish “[had] a stalker walking up and down the street” yet on THE DINER, she becomes the obsessive follower who “waited on the corner 'til I saw the sitter leave”. With chant-like vocals and a simplistic arrangement, this moment of the album stands out dramatically and may be the funnest piece. Subtle references from this album’s predecessor continue into BITTERSUITE with the second part of the song sharing a sound similar to I Didn’t Change My Number and Billie Bossa Nova. Still, by exploring binary opposites such as fantasy and reality, Eilish ensures that any commonalities with earlier work are conducive to elevation rather than reductiveness.

”I try to live my life in black and white but I’m so blue” hooks the album’s closer BLUE before shifting to a transcendental sound to address fears of the outside world and external influence. Notably, the orchestral piece that closes the album evokes feelings of completion, melancholia, and - despite the difficult topics explored throughout - hope. Eilish, however, intrudes on such elation with a final spoken question, “but when can I hear the next one?” presumably mocking fans’ constant expectation for artists to churn out work, and the speed at which they feel is necessary.

HIT ME HARD AND SOFT is an impressive third album from Billie Eilish and evidences her ability to remain consistent whilst actively broadening her sound. Due to commence on her world tour in September, it feels appropriate to assume that this new material will fit perfectly on her already adored setlist and continue to fill fans with an excitement that has Eilish has managed to upkeep since her debut single Ocean Eyes.