Melanie Martinez released her highly-anticipated third album, “Portals” on March 31. The album features 13 tracks about the end of Crybaby’s journey as a mortal and her experiences as they explore the beginning of afterlife.
Similar to her previous album, “K-12,” there will be a film adaptation of “Portals.” The upcoming film adaptation is rumored to be released in the year 2024.
In this album, Martinez experiments with new sounds and energies, enhancing her dark art-pop sound. This sound is achieved from Martinez’s visionary lyrics, fiery vocals, and vibrant instrumentals combined with hip-hop beats.
Controversy arose on Tiktok from some Martinez fans, referred to as Crybabies, in response to the snippets released by Martinez showcasing Crybaby’s new form. No longer does Crybaby’s character resemble a human; in the afterlife she turned into a pink four-eyed fairy-like celestial creature.
The opening track of the album, “Death” explains the journey Crybaby’s soul went through experiencing death as a mortal and rebirth in the afterlife as a new identity. “Death” discusses the common fear of losing loved ones to death, however it is a part of life that one must accept.
“Void,” the second track, was fully produced and written by Martinez about the void of existence humans experience. The void is a dark place where you are left alone to self reflect in order to find the light within yourself. The guitar and drum loop, combined helped the flow of the song, reach the passion of the chorus, “I gotta escape that void/There is no other choice yeah/Tryna turn down the voices/The void ate me.”
The third track is “Tunnel Vision,” the song describes the stage of moving through a tunnel of familiar hymns. Imagery was used in the lyrics to ease those close or entering the other side of life. Martinez wrote this song in Hawaii inspired by the earthly sounds of rain and coqui frogs.
The most danceable song of the album is the fourth track “Faerie Soriee.” “Faerie Soriee” represents the homecoming stage of connection with spirit guides. The sound gives off fairy energy, due to how enchanting the soundtrack blends with the soft vocals.
“Light Shower,” the fifth track, is a love song about a lover who serves as a soul cleanser from one’s trauma caused by the negativity in life. The soundtrack is made of layered simple guitar strokes, as the emphasis of the song is the lyrics. This track is the first song Martinez wrote for the album.
Those feeling trapped in society’s standards will find comfort in the sixth track, “Spider web.” Martinez wrote this song about the feeling of interconnectedness one experiences after undergoing hypnosis of the mind. The song additionally draws attention to social media’s chokehold on many members of society.
The seventh track, “Leeches,” is about conflict on earth. Specifically this song calls out people who live for the wrong reasons, and how they react to those in the spotlight. The song is delivered in a soft, breathy tone, with nature sounds echoing in the background. Personally I believe that “Leeches” does not match the rest of the album, and should have been featured in another project.
“Battle of the Larynx,” the eighth track, describes two different types of reactions people have during conflict situations. One type of person yells in order to intimidate the other type of person, who is able to calmly and concisely use their words to prove their point of argument.
“The Contortionist,” the ninth track, is a song about conflict in harmful romantic relationships. In particular, the song is about bending over backwards for someone who doesn’t accept you or see your worth as an individual.
In the tenth track “Moon Cycle” Martinez discusses what is like for a person who experiences a menstrual cycle. The song comments on how our patriarchal society is uncomfortable speaking about period cycles. In fact, the rumbling sounds in the song’s opening are recorded period cramps from Martinez.
“Nymphology,” the 11th track, comments on the box placed on women by narcissistic men. Women’s feelings are neglected, they are only of value when they resemble the mother of Men or a healer. The use of sound effects in the background mimic bones breaking, enhancing the playfulness of the song. This song is the most reminiscent of the Crybaby era.
“Evil,” the 12th track, is about dealing with a narcissist who calls you evil for seeing through their lies and manipulation. The opening jarring bass notes, accompanied by Martinez’s demeaning lyrics sung in an alto range with distorted vocals, compared to her mezzo soprano vocal range that fans recognize. Martinez stated “Evil” was the most challenging song to sing.
“Womb,” the final track, expresses the excitement and nervousness one will face when entering a new lifetime. In this stage, your true self detaches from the soul, in order to put to rest your human experience and enter a new identity and life.
The songs that resonated with me are “Evil,” “Light Shower,” and “The Contortionist.” I was drawn to the beauty of the lyrics and how confidently Martinez discussed themes that are normally considered taboo.
My least favorite songs from the album are “Leeches” and “Spider Webs.” However, I believe that these songs will make more sense in terms of the plot, and possibly serve as transitions in between scenes when featured in the upcoming movie.
I am anticipating the release of the film adaptation of “Portals,” to see how all the tracks piece together the end of Crybaby’s story. The end of the Crybaby era should not sadden fans, instead those should anticipate the future sound of Martinez given more musical freedom and room to experiment with new sounds and themes.
Those interested in listening to Martinez’s new album, can do so on all music streaming platforms. Updates will be posted on Martinez’s Instagram @littlebodybigheart in reference to the film’s adaption and tour.
