Month: June 2023

More Youthful Wisdom, Passion, and Fine Writing from the Stephens College Summer Conservatory “Rock and Roll” Class

As I have previously mentioned, this summer I’m teaching an asynchronous on-line class for Stephens College’s amazing conservatory program. It’s labeled MUS156; it’s called “Rock and Roll”; however, it’s focused on the discoveries and theories of neuroscientists Susan Rogers (former sound engineer for Prince, of note on the Purple Rain soundtrack) and Ogi Ogas, as articulated in their cool book This Is What It Sounds Like: What The Music You Love Says About You. That’s our course text, and it’s stimulated some excellent writing, which I’d love to showcase again here.

From Hugh Paul, a confirmed and confident Swiftie and a concise and enlightening writer:

Assignment: Write About a Song That Checks All the Boxes

My Favorite Taylor Swift Song

            Taylor Swift’s peace, my favorite track from her 2020 release of folklore, is one of the few songs that I can confidently say checks every single box in my listening profile. Being one of my favorite songs of all time, this song is what solidified Taylor as one of my favorite artists, and I still get chills from it every listen. Beginning with authenticity, this is definitely a “neck up” song, as Taylor crafts every note, lyric, and tone in her voice to convey the meaning of the song. As a singer and (beginning) songwriter myself, I am definitely a music/lyrics type of listener, making these cerebral types of songs some of my favorites.

            Moving on to realism, I think this song is a perfect split between realism and abstraction. While Taylor’s voice and the guitar accompanying her are organic and authentic, there is reverb and other effects playing in the background, making this a nice split between the two extremes. This also checks my listener profile, as I enjoy both realistic and abstract songs equally, as long as the voice is mostly natural and unaffected. As far as novelty goes, I think this is also a nice blend between novelty and popularity/familiarity, especially for a mainstream artist such as Taylor. Experimenting with a stripped, sparse arrangement, Taylor allows the lyrics and melody of the song to take the forefront, a more novel choice for the average pop listener. In addition, she keeps the song soft the entire time, allowing it to take the form of a laidback indie song, rather than the “bangers” she’s known for. It still has enough popularity/familiarity to place it squarely in my listener profile, however, with a traditional song structure and simple, folksong melody.

Now to the heart of why this song is so amazing: the melody and lyrics. While the melody is fairly simple for most of the song, the bridge sees her playing around with more complexity, going from a high, rapid-fire section to a low, grounded section in the span of four lines. While the song stays relaxed and in Taylor’s comfort range the entire time, the contrast between the gorgeous, wistful highs and dark, cloudy lows makes this melody much more interesting than it may seem at first glance. The undeniably best part of the song, however, are the earnest, heart-wrenching lyrics so honest you can’t help but hang on every word. While I could go into an in-depth analysis on every line of the song, for time’s sake I’ll only mention the best ones, the first being the sincere, pleading chorus, “But I’m a fire and I’ll keep your brittle heart warm / If your cascade ocean wave blues come / All these people think love’s for show / But I would die for you in secret.” Confessing her undying devotion to her partner, she begs him to understand how much she would do for him, praying that it will be enough, “Would it be enough / If I could never give you peace?”

            Moving on to the unbelievable bridge, the music strikes a minor chord as she continues, “And you know that I’d / Swing with you for the fences / Sit with you in the trenches / Give you my wild, give you a child / Give you the silence that only comes when two people understand each other / Family that I chose now that I see your brother as my brother.” Admitting she would give him every part of her, both the good and the ugly, she ends the bridge with the heartbreaking lines, “I’d give you my sunshine / Give you my best / But the rain is always gonna come / If you’re standing with me,” reaffirming that the ugly parts of her will always be there. These lyrics couldn’t possibly be closer to my listening profile, as they are so raw and meaningful that I can’t help but be moved to tears nearly every listen. To have someone you could give yourself completely to, who would accept all the good and bad parts of you, is something that I can’t fathom at my twenty years of age, but is still something I yearn to one day have.

Continuing on to the rhythm of the song, although still in the “basic” 4/4-time signature, there is a lot of variety in the way the beat lands, with an electronically created note landing every eighth note, and the vocals and other instruments coming in at different, odd places, especially during the bridge. This intricate rhythm conveys the complex message of the song, and lands in a way that falls perfectly for my listening profile. The timbre of the song is another huge reason behind why I love it so much. Beginning with a breathy, light falsetto on the first verse and chorus, Taylor’s innocent, youthful tone expresses the vulnerability and sincerity behind the words. Reaching the bridge, however, her voice lowers and becomes stronger, as she approaches the mature lyrics with more intensity and grit in her voice. Sinking into her lower register at the end of the bridge, and then at the end of the song, she juxtaposes the positivity and innocence of the high notes, with the honesty and humility of the lows. Overall, this song is truly one of my favorites of all time and continues to mean more and more to me as time goes on. Song Link: https://music.apple.com/us/album/peace/1524801260?i=1524802476

We also have weekly “Record Pull” assignments. I “pull” a couple of records I love, make a case for them, and ask them to respond to those and make a case for a favorite record of their own. Here’s one of Hugh’s recent offerings (I had “pulled” Steve Lacy’s “Sunshine”):

Steve Lacy’s “Sunshine” (feat. Fousheé) was a very enjoyable listen for me, as I found the melody, rhythm, and timbre of the vocals extremely pleasing. I think it is a great representation of how music has evolved and where it’s headed, as it combines a lot of different sounds together in a way that feels new and interesting. I would say the song is definitely a “neck-up” song for the most part, as the lyrics and melody seem very planned and calculated. Although containing elements of realism and abstraction, the song leans more towards abstraction, as the reverb on the vocals and technologically produced instrumentation give it an abstract feel. This feeling and use of different sounds make it a fairly novel song, relying on its own sound rather than following current musical trends. I found the melody very pleasing to the ear, as it glided up and down a pretty narrow track, and while the lyrics were pretty basic, I think they accomplished what the artists’ set out to do. The rhythm was very nice to me as well, consistently coming down on the first three quarter notes and then the “and” of four. The timbre of the song, however, had to be the best part about it, as Steve and Fousheé’s calm, soulful voices dripped over the feel-good melody. Steve’s flips into falsetto on the first verse were especially pleasing, and the whole song had such a chill, “vibey” timbre I instantly felt at ease listening to it. I think this focus on “feeling” is definitely something music is leaning more towards, as it becomes the background for events in our lives.

A song that I think points to where music is headed is Moroccan-Canadian artist Faouzia’s “Don’t Tell Me I’m Pretty” from her debut album, Citizens. An extremely innovative artist, Faouzia combines Arabic-influenced scales and riffs with the standard conventions of pop, in a way that allows for commercial success. Also definitely a “neck-up” song, Faouzia takes great detail to make sure every note, lyric, and riff suits the song perfectly. Almost completely abstract, the song feels cinematic and almost futuristic, as the production is completely technologically created. This futuristic sound makes it a very novel song, and the combination of Arabic and Western influence only heightens this. The melody is absolutely beautiful, going from Faouzia’s dark, angsty low notes to her exhilarating, powerful highs. The lyrics of the song are also great, building tension in the verses, “You got such an ego / So much pride, it fills the whole cup,” and then taking flight at the chorus, “Don’t tell me I’m pretty or that I’m beautiful / I know you don’t love me.” While the rhythm is nonexistent for much of the song, when it does come in on the second verse it adds to the climactic feeling of the song in a strong way. Once again, the timbre of the song is what makes it great, as Faouzia’s incredible voice travels between different registers and intensities. Starting in her lower chest voice during the first verse, she shifts to a light head voice at the chorus, then explodes into a full belt at the second chorus. She then comes back down to a soft head voice at the end, using a traditional Arabic riff to end the song. All of this makes the song very unique and unlike anything I’ve ever heard before, which is where I think the musical landscape is headed. I also think that the combination of different genres and cultural influences found in this song are going to become more and more popular as time goes on.

Another terrific writer, thinker, and explorer in this class has been Arden Ogilvie, who regularly challenges me to explore further. Here’s a recent submission (keyed to Rogers’ and Ogas’ theory) by her that is just terrific–Ethel Cain’s work is making a dent in this class:


Ethel Cain’s “Ptolemaea” is THE song I have been most excited to write about since starting this class. The 6-minute story-driven masterpiece intertwines some of the most haunting yet ethereal soundscapes I have heard in any record. The album, Preacher’s Daughter, satisfies a specific aesthetic I have never once found before in the medium of music and creates a story that is both familiar and frightening. The album itself follows Ethel Cain, a young romantic southern preacher’s daughter (“American Teenager,” “Western Nights,”) as it shows the exploitive and manipulative nature of the church (“Family Tree,” “Hard Times”) which leads Cain to run away with a pimp, Isaiah(“Gibson Girl.”) “Ptolemaea” sits as the climax of the story, where the pimp Cain has run off with has drugged her and begun cannibalizing her body. Cain’s exploration of youthful deceit, family and religious trauma, and depraved manipulation is of pure horror which is wholly encapsulated in the composition and production of “Ptolemaea.”
Authenticity
The record opens with manufactured groaning as a drugged-out Ethel Cain finally gains consciousness as her abuser mutilates her. As a listener, it is jarring and alerting. It twists your gut and you become uneasy, and as further samples emerge, specifically that of the flies swarming, the below-the-neck feeling becomes almost unbearable. The record itself tortures the mind of the listener and puts them in a similar feeling of confinement as Cain herself. However, that does not discredit the genius of the lyrics. The very name of the song, “Ptolemaea,” as well as Ethel Cain’s surname, are allusions to the brilliant work of Dante’s Inferno; the
traitorous 9th layer of Hell. This layer is reserved for the worst sinners and is where the Devil himself resides, however, this layer is further divided into four other rings, two of which are Caina, harboring those who are traitors to their families, just as Ethel herself betrayed and deserted her family. The third ring, the namesake of the record, is Ptolemaea which harbors hosts who betray their guests, just as Isaiah has led Cain to be his guest but betrayed her. This allusion coupled with the incredibly nuanced lyrics which will be expanded upon later subsequently create an above-the-neck quality to the record. This cohesion, both of the below and the
above-the-neck qualities are what generates such a raw emotional response from the experience that is “Ptolemaea.”
Realism
Despite having incredibly manufactured vocal effects on the voices of both Isaiah and Ethel Cain, as well as distinct industrial influence on the guitar and overall soundscape, there is a tragic realism in the performance of Cain. The disgusting sounds of flies swarming in your ears, metal hitting the ground, and the penultimate screaming of a woman being murdered. The record itself explores a drug-induced hallucinatory state, which in itself cannot be purely realistic. As an experience, the production makes it a point to confuse the listener with the reality of Cain’s experience. All the listener knows is that the screams are real. The only thing untouched by the mixing and editing. “Ptolemaea” makes it a point to use distinct and realistic inputs, however, twists and modifies them into something horrible to which the mind can hardly tell the original sounds. Something so familiar yet distorted it becomes unrecognizable and abstract.
Novelty
Many artists produce records and albums, in Ethel Cain’s case, that tell stories. However, never have I come across such a polished example as Ethel Cain. American gothic is a genre, specifically in literature, that is quite familiar and has gained popularity surrounding the profound works of Edgar Allan Poe and Nathaniel Hawthorne, but never have I heard of this genre influencing a story as complex as Cain’s through the medium of music. The medium of music, much like literature, leaves visual interpretation to the consumer which in cases such as “Ptolemaea” generates a vivid sense of fear and affliction. It takes the mind to a dark, tragic, and depraved state that allows it to conjure up the worst possible results. And the layer that the narrator, Ethal Cain, is drugged and amid hallucinations, creates a mystic quality that is quite novel in music.
Melody
Preacher’s Daughter, as an album, is more conceptual rather than musical, this does not discredit the musical intellect and talent of Cain seen in songs such as “American Teenager,” “A House In Nebraska,” “Televangelism,” or “Strangers,” however, “Ptolemaea” acts as a divulge from the Lana Del Ray inspired sound to that of something much darker and tragic. The melody within the first act remains rather angelic and light, despite the context and content. Melodically it remains fairly simple and closes together, not breaking or divulging nor trying to be impressive. This, however, is a musical setup for the vocal and melodic break of
Cain’s scream disrupting the senses and allowing the guitar and bass to come full force with Cain’s droning, almost mocking, the melody of “I am the face of lover’s age.” Despite being melodically simple, “Ptolemaea” through sound samples and industrial effects, achieves something much purer and more realistic than a musical melody. Most of the lyrics are monotone, and the music itself is secondary, but the experience of the abuse and mutilation ring far heavier on the body of Cain and the ears of the listener.
Lyrics
Ethel Cain is a master of biblical allusions within her work. From the very name of her character and title track to the incredibly nuanced lyrics whispered or screamed out. As Cain emerges to be revealed as a sacrifice, “the white light” for Isaiah, her captor, and pimp. However, because of this realization, or the lack thereof in drug delusions, Cain herself starts accepting her fate for “the iron still fears the rot.” This is where the attack begins and the chorus, a series of “stop” ensue. It’s pleading, horrifying, and a pathetic display of the lack of power she has in this position. There is no one to help her and no one to stop the sacrifice of her blood. And with the infamous scream, Ethel Cain is no longer the traitor, but rather, in her horror, “the face of lover’s rage.” The record ends with a prayer spoken by Death as Ethel Cain’s distorted screams are vaguely heard in the distance:
“Blessed be the Daughters of Cain,/ bound to suffering eternal through the sins/of their fathers committed long before their conception./ Blessed be their whore mothers,/tired and angry waiting with bated breath in a ferry that will never move again/Blessed be the children, each and everyone come to know their god through/some senseless act of violence./Blessed be you, girl, promised to me by a man who can only feel hatred and/contempt towards you./I am no good nor evil, simply I am, and I have come to take what is mine./I was there in the dark when you spilled your first blood./I am here now as you run from me still./Run then,
child./You can’t hide from me forever.” A grim reminder that despite faith in God or some higher power, the world is still filled with cruel and flawed individuals. Despite the pain and violence that goes into finding meaning and purpose, we all experience the same end. Death. There is no way around it, and in Ethel Cain’s case, her martyrdom is that of manipulation and abuse.
Rhythm
“Ptolemaea” is quite simple regarding rhythm. It is in 4/4 with accented beats on the first and third beat. The drum kit is one of the only instruments not too heavily industrialized, however, it does act as Cain’s heartbeat for the of the song, explaining its steady rhythm increasing and becoming unpredictable. During the
pre-chorus of “stops,” there is the beginning of accented 16th notes in the background, however, this is expanded upon after the chorus break into the prayer where the drums start becoming more erratic and impulsive. The drumkit itself acts somewhat as a heartbeat of Ethel Cain, and the erratic beat pattern declines
and slides down as the song ends in tandem with her life.
Timbre
Because Preacher’s Daughter is considered a concept album and tells a story rather than a collection of songs, I believe there was a bit more flexibility with the included timbres. “Ptolemaea,” specifically experiments with a variety of sounds and qualities to instruments creating a familiar yet distant perception of both the vocals
and instrumentalization. This is incredibly evident with the mixing of both Ethel and Isaiah’s voices, where Ethel’s has some distortion and echo, while, Isaiah’s is deep, fuzzy, and sinister. It is hard to tell the musical composition of “Ptolemaea” because of the intense distortion, however it is because of this industrialization that the atmosphere, both depraved and metallic, is created. How the screeches of both the human voice and the guitar are almost synonymous. How the sound of flies creates a feeling of unease and disgust. “Ptolemaea” is not out to be realistic in the sense that you envision Ethel performing it at a concert, but rather the vivid and depraved images of torture and brutality that pop up into the listener’s mind whilst experiencing and taking in all the added metallic and distorted soundscapes. I would probably name “Ptolemaea” as my favorite song of 2023 from the sheer impact and obsession I had over this song and album. The combination of
industrialized rock and American gothic storytelling that flips off the church is a combination I did not know I needed until then. It is tragic, brutal, depraved, and makes you think. Makes you feel. Those are the records that last with me. The ones that I remember distinctly are the initial feeling of nausea of grief or affection. That is what encapsulates Ethel Cain’s “Ptolemaea.”

Wouldn’t you LOVE to have students like Hugh and Arden?

Stephens College Conservatory Ace Sophie Davis Parses the Virtues of Lewis Capaldi’s Broken By Desire To Be Heavenly Sent

As I mentioned below, I am teaching an asynchronous pop music class to a group of Stephens College conservatory students this summer, and enjoying it. One day a little over a week ago, I was scanning the latest hot takes in a Facebook music group I belong to that is made up of avid fans of the hoary but still effectively hortatory pop music critic Robert Christgau. Yes, nerds. It just so happened that Xgau (as he is known to us) had just laid a very positive review upon the Scottish pop person known as Lewis Capaldi in his monthly “Expert Witness” column, concerning his new album Broken By Desire To Be Heavenly Sent. I had skipped Capaldi’s debut album, honestly because Bob’s positive review of it contained phrases that signaled I need not waste my finite seconds exploring it (also, he is an 81-year-old who sometimes tries too hard, it seems to me, to stay relevant to the kiddies). Well, it appeared from my skimming of reactions in that Facebook group that a bit of poptimist vs. rockist acne was breaking out, and, like acne, some of it was funny.

Later in the day, I was grading some student work, suddenly sat bolt upright (usually face down into the keyboard is my usual response), and wrote the class, “Hey, is anyone a Lewis Capaldi fan?”

I waited a few hours, and finally, a lone response popped up in my email: a bright, hardworking, and enthusiastic student named Sophie Davis reported that she loved the album. Rubbing my hands together in mischievousness, I offered her a deal (well, we kind of collaborated on it): if she’d write a full-length review of Broken By Desire, breaking it down to its essence, I’d excuse her from three of the five weekly assignments she had coming up. Of course, it had to be good, but her previous work had already shone, so I felt confident about that part. Also, I did take the dive and listen to the rascal’s record–and kinda kinda liked it. As the descendent of two Scottish lines that began in castles that don’t look so good right now, I was now rooting a bit for him, but mostly, I was hoping Sophie might nudge me off the fence. She did. Here’s what she came up with:

Lewis Capaldi’s Broken By Desire To Be Heavenly Sent: A Tour of That Rollercoaster Called Love.

A review by Sophie Davis, Stephens College Conservatory

Lewis Capaldi’s Broken By Desire To Be Heavenly Sent” is an album that speaks about love as a whole: the good, the bad, and the ugly. When I say that listening to this album is an absolute rollercoaster, I mean it wholeheartedly. While studying this album and searching for common themes, I found myself thinking I had found the overall theme multiple times, only for it to change every other song. With this in mind, I will be taking you through each theme, as well as dissecting the emotion behind it and its effect on my soul.

Capaldi starts off the album strong with “Forget Me.” My immediate reaction to this song was that this album was about to be a breakup album, but not in the typical sense. It’s true—this is a breakup album in many ways, but it’s still very unique and well-crafted. “Forget Me” is the kind of break-up song that makes you want to dance around the room and scream along to the lyrics. It perfectly captures the moment of feeling betrayal, as you realize the other person is moving on and, in turn, forgetting you. This is the perfect way to start an album, as it gives us our first theme: the fear of letting go of an old love.

Moving forward in the album, we are met with “Wish You The Best.” This song perfectly captures the realization that you don’t always get the closure of telling someone how much you still love them even after breaking up. This is the moment of acceptance—realizing that you just want what’s best for the person you love, even if their best is without you. He contemplates everything he did wrong that could have possibly led to the parting between him and his previous lover. In the end, we see fully his acceptance of the fact that all he can do is be happy for her and everything she has accomplished without him. (Also, as a side note, this music video is soul crushing and beautiful.)

“Pointless” is one of my top three songs on Broken By Desire. When first listening to it, I was immediately under the impression that he was talking about a current lover. However, upon listening to it more, I realized that he could very well be talking about a love that is yet to come into his life. The lines “I’ll wait for you/ You’ll wait for me, too” make me believe this is a possibility. Plus? The very solid understanding about what he gets from her and what she gets from him makes me think this is about someone for whom he is patiently waiting. This song is truly talking about the purest form of love that any human can experience. It fills my soul with so much joy and reveals the good parts of love. One thing that is very beautiful about Lewis Capaldi’s voice is that, because he has such a raspy belt, it adds such a one-of-a-kind sound to the ballads on this album, especially including this song. So, not only are we getting this beautiful ballad that perfectly captures a healthy and balanced love, but we have the rawness of Capaldi’s voice to add to that. “Pointless” is the first song on the album that introduces us to a fully positive aspect of love and gives many hope for a future love that they have yet to meet.

“Heavenly Kind of State of Mind” is another song that you can dance around the room to. It perfectly captures the excitement of finding new love and the joy you get from that. You can roll the windows down and listen to it with the love of your life. The lyrics “Now I think about you all of the time/ What a heavenly kind of state of mind” perfectly capture how beautiful life becomes when you are in love with someone who is good for your soul. “Heavenly Kind of State of Mind” is how it feels when you start to see life in color again when you have someone to love who also loves you so fully.

“Haven’t You Ever Been In Love Before” gives us a chance to see how two very different people view love. While Lewis is singing about a man who is ready to jump in and lay everything out on the table with his heart on his sleeve, the chorus reveals the girl’s perspective: how love hasn’t treated her well and is something that she has a hard time viewing positively. While he is completely ready to take this love by storm, she is hesitant. This is the point in the album when we start to see the less pretty parts of loving someone, because, despite it seeming perfectly balanced, we still see the struggles that come with relationships.

“Love The Hell Out of You” is another song that is among my top three on Broken By Desire. Its theme is simple: loving someone on their hard days, especially when their mental health is low, is never an issue when they do the same for you. Capaldi gives his loved one a little pep talk throughout the song as a way to show that he is here for them, no matter what they are going through. This song is exactly how a long warm hug from the right person feels. It’s simply lovely, because it shows the imperfections in a relationship and how to work through them with each other.

“Burning” is when the album starts to return to the heartbreak side of love: it deals with the realization that a relationship may no longer be healthy for either person, and staying in it is only going to make this realization more prominent and true. It’s about realizing that putting forth the energy it takes to keep this spark alive is no longer worth it and is only causing more pain for each person. It discusses the importance of knowing when to let go, even when you don’t want to. The exhaustion of holding onto something that no longer serves you is far too difficult to deal with and, after a while, it is better to let it all go.

“Any Kind Of Life” explores the struggle of wanting to hold on when you know it won’t do you any good to. The lyrics “Hope, have you some that I could borrow?” are heartbreaking to hear for anyone who has ever felt the fear that comes from leaving someone who was once such a huge part of their daily routine. One large theme we can now see in this album is the stages of grief that we go through with those who are still living. This song is the definition of denial, as Capaldi struggles to let go of this love that was his everything. His desperation to save this love conjures for me an image of someone struggling to keep water in their cupped hands. No matter how carefully you move, the water begins to slip through the cracks in your hands until it’s gone and there’s nothing else that can be done about it. This is the unfortunate and ugly side of heartbreak and love.

“The Pretender” is the last song of my top three from Broken By Desire: the definition of putting on a mask in order to fit into the world of someone else. This song is features Capaldi begging someone to tell him who to be so that he can be loved. As far as stages of grief go, he is bargaining with the person he is singing to. The idea of “I’ll do anything” in order to be loved is gut-wrenching, but so well evoked by the artist. Not only does it capture this bargaining mindset, but it also sheds light on something that many people of all generations experience: hiding how we really feel and who we truly are in order to make others feel comfortable and happy around us. Pretending like one isn’t “on the edge of a knife” is a very common problem for those who struggle with their mental health, and it’s oddly comforting to hear it represented in a song.

“Leave Me Slowly” reminds me of a classic Eighties heartbreak ballad. This is the kind of song that could be playing as you slow dance with the person you love for the last time, and you both know it. It’s conveys the feeling of deeply taking in the last moments you have with this person before you part ways. You get to eavesdrop as he returns to the time when they first met, and the appealing moments they shared together in this relationship. This is him asking the one he loves to take one more moment before they leave to just be with him. This song is how it feels to hug someone for the last time.

“How This Ends” is fueled by the anger that comes with heartbreak. Capaldi sings about how much time he wasted on this love and how it has all been for nothing, completely forgetting all of the good moments they shared. His anger can be felt in everyone’s chest, as we have all gone through this moment. This song presents the image of someone tearing their apartment apart as they try to destroy any trace of the person who caused them this much pain, feeling betrayed, used and defeated. Capaldi treats this whole experience as if his love for her was nothing more than a mistake, something he could have easily avoided had he chosen to not fall in love in the first place. The ending is too difficult for him to handle, and he longs for it to change—immediately.

“How I’m Feeling Now” ends the album in a very sad way. When we think of self-obsession, we usually imagine someone who is in love with themselves and is sort of narcissistic. We don’t usually think of a person who is trapped in their own mind. This is brilliant writing, because it gives everyone an idea of just how paralyzing mental illness can be, and how much it affects every aspect of our lives. The chorus is where our eyes are opened to the depth of Capaldi’s view of the world when facing mental illness: “So here’s to my beautiful life/ That seems to leave me so unsatisfied/ No sense of self but self-obsessed/ I’m always trapped inside my fucking head.” It is a not-so-happy toast at the end of a dinner party as someone reveals that they are miserable and broken, a sort of “in case you were wondering” moment where this person is confessing that their life is still difficult despite all the time that’s passed. Despite the misery communicated by this song, hope still flickers at the end, as Capaldi reasons that, one day, he will be okay—a fitting end to this brilliant album.

Many themes power this album: love—the good, the bad, and the ugly; the stages of grief as experienced through love; and (my personal favorite, I now realize) non-linear healing. We have our good days and we have our bad days, and, if we are lucky, we have someone who is with us through all of it. However, when those people aren’t around or when they leave, although healing slows, it’s still in motion. Love is the purest emotion anyone can feel. It can either fill a person with joy, or with utter despair—depending on who you ask. In the end, love is truly what gets each of us through the day. The beauty behind Broken By Desire To Be Heavenly Sent lies in the fact that Lewis Capaldi does not hold back when taking the listener on a tour of every aspect of love. His singing communicates so much raw emotion through these songs and the story they tell taken altogether. Capaldi has fully shown us what love is and how magnificent and awful it can be, in a complete pop music masterpiece.

Blogmaster’s Note: Very nice job, Sophie! I am glad I’ve been off the rollercoaster and on solid ground for a couple-three decades–but even so, much of the Capaldi wisdom you extracted still occasionally applies. Thanks for being game!