When The Pawn
Preface
Her second album, originally titled:
When the Pawn Hits the Conflicts He Thinks like a King What He Knows Throws the Blows When He Goes to the Fight and He’ll Win the Whole Thing ‘fore He Enters the Ring There’s No Body to Batter When Your Mind Is Your Might so When You Go Solo, You Hold Your Own Hand and Remember That Depth Is the Greatest of Heights and If You Know Where You Stand, Then You Know Where to Land and If You Fall It Won’t Matter, Cuz You’ll Know That You’re Right
actually held the record for the longest album title until 2007. it’s a poem by herself that’s written on the front cover.
It’s a generally simplistic record. few instruments, few subject matters, which makes it sound like triphop at some points. but those few pieces come together perfectly. everything compliments everything else. things just “sit” together so nicely. the rhythm is often what you can shake your head to. the words are intimate, she sounds so “real” and human.
The melodic parts feel fantastic since they’re often contrasted with the rest of the song being passive and dissonant. the contrast also happens with the number of words and notes too. the bridge sections (accidentally?) happen to have that quality: in contrast to the chopped-off wordy verses, they’re more expressive and less narrative. they’re what you can sing along with.
Brushing drums and prominent role of the piano makes it sound very jazzy.
My favorite tracks are I Know, On The Bound and Limp; in that order.
Review
On The Bound sounds very nice, the instrumentation is fantastic. she sounds frustrated and in doubt. the full-throated chorus and the bridge section are very expressive. it’s rather jazzy but still faithful to pop elements as well. you can headbang, cry or scream to it.
No thing I do don’t do nothing but bring me more to do
To Your Love sounds a bit eastern, specially the chorus. sounds mysterious and seductive. it’s moist and pissed off. again the bridge is very expressive. it’s a very rash and impulsive piece, a melodic rant. cool phrases though: derring-do, rigadoon, deal out, desideratum.
Limp is rather danceable, and once again mysterious. the drums comes in at a pretty strange time, unexpectedly. they do the same (although one or two bars later) for the next verse. the theme is rather obvious.
You fondle my trigger, then you blame my gun
the chorus is so catchy and upbeat. it’s again an angsty song, full of rage and frustration.
Love Ridden is the first “calm” song. it’s so moody and sounds like an attempt to remember in retrospective, after the anger goes away. she’s trying to accept that it’s over. she recalls how she wanted him, “I wanna crawl in with you but I cry instead” and “now I’m giving up on you”. very hoenst and vulnerable.
No, not “baby” anymore
If I need you, I’ll just use your simple name
Only kisses on the cheek from now on
And in a little while we’ll only have to wave
Paper Bag has so many words, and it is the least catchy song so far, ironic how it’s the most listened song of hers on Spotify. the main idea here is that she saw a paper bag once and thought it’s a dove, representing putting hope in alost cause. there are some card game references here, previously too “I got to fold”. I like to think of this song as the continous remembrance she had previously. she keeps remembering and the “hunger” is once again rising: nostalgia. I guess the famous lines here are these:
I said, “Honey, I don’t feel so good, don’t feel justified
Come on put a little love here in my void,”
He said “It’s all in your head,”
And I said, “So’s everything” but he didn’t get it
I thought he was a man but he was just a little boy
I loved the little brass section at the end too. solid resolute ending.
A Mistake is filled with the typical feminine confusion. rebelling against whatever binds.
Do I wanna do right? Of course
But do I really wanna feel I’m forced to answer you? Hell no
again to continue her post-relationship process, she misses the mistakes she’s made, another one, maybe a better one (and maybe not). I find the distorted guitars and the glitchy vinyl-scratches relatable to this. the haze, the itch, the confusion.
Fast As You Can extensively uses her contemptuous snobbish tone. she enjoys appearing in control, the devilish underlying layers showing up feeds her.
I may be soft in your palm
But I’ll soon grow hungry for a fight
And I will not let you win
Once again a brilliant bridge section. slower pace, more honestly and vulnerability against the rest of the song.
I’m tired of whys, choking on whys
Just need a little because, because
The Way Things Are has some odd moments, like when she sings “I’m much better off the way things are” in the refrain. I can hear some microtonals there. the bridge is like always the most brilliant part, longer notes, more consonant and catchy in comparison to the rest of the song. it’s as if this is where everything comes together.
How can I fight, when we’re on the same side?
How can I fight beside you?
I Know is the only track I had heard before this album listen. I loved it ever since. it has a brilliant flow to it. it makes your body do little moves. this is the last stage for her. after all the angst, confusion and aggressiveness, she finally gave in. she will keep the secrets burried under her skin. she’ll be patient and quiet, but she’ll know and that seems to be enough.
It sounds very good like all other songs here. maybe my favorite.