A glorious return to darkness, this is a thrilling and chilling third album from the world's scariest pop star
tried to become a rapper. In the video to early single “You Should See Me in a Crown”, she allowed a tarantula to wriggle on her tongue. Just last year, she brought an icy existential ache to themovie with unsettling ballad “What Was I Made For?”. Blending playground melodies with despair-soaked lyrics , it sounded like something piping from a music box in a haunted house., plunges into the musical outer limits once more.
There is nothing more boring than a pop star complaining about fame – even when they have a point . But she brings the fun back with the steamy “Lunch”, a zestful declaration of sexual liberation where Eilish compares a dishy girl to a treat she’d like to snack on and which follows her statement last year that she is “physically attracted” to women.
also reminds us of Eilish and Finneas’s talent for the brilliant fade-out. Fans will recall the lurch into scuzzy electronica at the end of “Bad Guy” or the syncopated judders in the closing 30 seconds of “I Didn’t Change My Number”. Here, they go even further down the rabbit hole of eerie, gothic production. Dizzying dance-pop excursion “Chihiro” culminates in a huge chugging wig-out that sounds like a classic Daft Punk banger blasting into the stratosphere.
She goes for broke all over again on tumultuous closer “Blue” – a cousin once removed from early single “Six Feet Under” – which kicks off with a cloud-scraping chorus and then pivots into a down-beat fade away, where she abandons the hook entirely. It’s a chilling, thrilling end to perhaps her best album yet.
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