Melanie Martinez plunged back into the music scene this year with her fourth studio album entitled “HADES” on Friday, March 27.
Like Martinez’s past eras, each one has had a distinctive aesthetic and color palette. However, this is the first album not following the character CryBaby, whose storyline is featured in her three previous albums. This album follows Martinez’s new character, a fictional pop star called Circle. Circle was created by Hades Tech, Martinez’s fictional corporation who is using AI to consume and transform its people.
The album cover, tracklist and two singles were revealed before the album was released. The first single was “POSSESSION,” an alt pop driven song expressing the struggles of being treated like an object within a toxic relationship, while the second single, “DISNEY PRINCESS,” explored the dark sides of fame, twisting the narrative of a Disney princess with dark lyrics and a bright, happy instrumental.
Martinez’s unique way of navigating a concept and her musical expression has become her brand. She has always been a creative, visual-driven artist, and this album is no different. Although there have not been any music videos for the singles, one minute clips have provided visuals for the songs, bringing fans further into Circle’s world. In addition to these clips, Martinez sent fans on her mailing list a short story that further explains Circle’s character.
Martinez is also confirmed to drop a second album sometime this year, which will be discussing utopian themes. The first album explored themes of exploitation, A.I., moral decay and outrage, so it will be intriguing to see what topics she will cover in her next album. While this new era has just begun, the yin and yang of a dystopian album and an utopian album within in one era is a unique concept.
On “HADES,” the tracks flow together when listening in order, complimenting each other. With a lengthy 18 songs, “HADES” sounds like one flowing body of work instead of a choppy group of songs.
“HADES” fits into her discography perfectly, seeming like a mix of all of her previous works, while bringing new additions to the table in terms of genre and style.
The production on this album is a standout. On “GARBAGE,” there are sections where Martinez layered voices in the background, creating an eerie and enchanting underlying factor. During spoken sessions on “CHATROOM,” Martinez uses a filter that creates a dream-like effect on her voice.
However, on certain songs it is tough to understand what she’s saying due to the effects, unless you have the lyrics in front of you. The production is a crucial part of the storytelling, but it also overpowers Martinez at times.
The best track from “HADES” is “THE VATICAN,” a sensual, dark pop song that tackles religion and how people misuse it. While the song does not criticize religion itself, it does attack the people who give a bad name it. Martinez specifically calls out people who make negative choices for the “sake of religion.” While it can be perceived as controversial, its purpose is to invoke emotion about an issue.
Overall this album is cohesive and a highlight of Martinez’s discography, and it is available wherever fans purchase or stream their music.
