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Michelle Zauner’s Bold New Album Challenges the ‘Sad Girl’ Stereotype

BBG News

Michelle Zauner clarifies her intentions: She’s not aiming to reclaim the term “melancholic music for sad women.” The title of her upcoming fourth album, “For Melancholy Brunettes (& Sad Women),”, has sparked a range of reactions and misunderstandings. Some people assumed it was a collection of heartbreak songs, while others perceived it as a claim to a label that’s been used derisively in the past.

Zauner humorously notes that the title of the album might have been intentionally playful, but some people may have interpreted it quite literally.

Discussing “melancholic female music” can be a delicate topic, as Phoebe Zauner is mindful of her language choice. She expresses concern about potential controversy, acknowledging that many gifted female songwriters have been unfairly stereotyped in this category. Regrettably, the music industry and online platforms often oversimplify women’s music that tackles intricate emotions – artists like Phoebe Bridgers, Mitski, and Lana Del Rey have faced such degrading labels for quite some time.

As a follower, I’m eager to hear what everyone has to say about Zauner’s project once they’ve given it a listen, with the album set to drop on March 21st. At 35 years old, Zauner finds herself in a perpetual cycle of “caring, then not caring, and then pretending to care.” Her mood mirrors the gloomy weather outside our windows, as she humorously remarks, “I’m a winter person, I feel like I have to endure something to truly appreciate the upcoming season.” The weight of expectations is heavy following her recent successes. For Melancholy Brunettes, released four years after Zauner’s meteoric rise from indie-music darling to literary powerhouse, comes after the publication of her heartrending memoir Crying in H Mart. This poignant and compassionate work became an instant New York Times bestseller and is currently on its 39th printing.

After publishing “Crying in H Mart”, Japanese Breakfast released their third studio album, titled “Jubilee”. Contrary to the somber tone of the book, this album veered dramatically towards uplifting joy, seamlessly blending ethereal synth-pop melodies with shoegaze undertones. The record received widespread acclaim, garnering nominations for Best New Artist and Best Alternative Music Album at the 2022 Grammys.

For those with melancholy or brunette women, however, the soundscape is a stark contrast to that of Jubilee. It’s not quite as close to Crying in H Mart either. Instead, Zauner delves into something more somber—harsher and more unforgiving. She seeks to understand what various forms of darkness appear like when confronted head-on.

When Zauner ponders what imagery comes to mind when considering melancholic brunettes, her enthusiasm prompts her to pull out her phone, listing various examples: Artworks such as “L’Absinthe” by Edgar Degas, “Tired” by Ramón Casas, and “The Wedding Dress” by Frederick Elwell – all depictions of women in deep sorrow – were instrumental for the album. These works proved particularly significant for the album cover, which portrays Zauner as a gothic, Brontë-esque figure, lying face down on a table amidst an abundant feast. “I find the notion appealing,” she says, “of someone simply collapsed on a table, surrounded by an abundance of items. Like a pampered prince or something.

As Zauner embarked on composing “For Melancholy Brunettes” during winter 2022, she was resolute about approaching her work from a more personal perspective. Instead of the rich horns and sleek synthesizers that characterized “Jubilee“, she aimed to create songs with a stronger emphasis on guitar melodies. To achieve this, she collaborated with producer Blake Mills, who has a diverse portfolio of collaborations with accomplished rock artists such as Fiona Apple, Perfume Genius, and Alabama Shakes. Together, they recorded the album at Sound City in Los Angeles, marking the band’s first professional studio release following their initial three records which were produced in makeshift studios with friends.

As she started crafting her songs, Zauner immersed herself in extensive reading as well. She was intrigued to understand how the theme of melancholy has transformed over the years in narratives revolving around love, social structures, and family ties. She delved into European Romanticism, Greek mythology, and eventually, classic Gothic Romances such as ‘Jane Eyre’, ‘Wuthering Heights’, and ‘Frankenstein’. Additionally, she explored modernist works like Thomas Mann’s ‘The Magic Mountain’, which holds a special place for her husband and bandmate Peter Bradley, serving as the inspiration behind one of their album’s songs.

In addition, she grew more intrigued by literature that fell under the “incel” movement’s classification, as per Zauner – texts celebrated by the predominantly male group who label themselves as “involuntary celibates”, known for their portrayals of solitude and masculinity. Examples include “American Psycho” by Bret Easton Ellis and “Infinite Jest” by David Foster Wallace. Zauner aimed to decipher why these manifestations of distorted masculinity, similar to the character of the Joker, and feelings of isolation and anger arise; how these disillusioned and at times violent men perceive and navigate the world.

Reflecting on my initial creative endeavors, I’ve always found a persistent theme – a sense of apprehension and disillusionment towards men. This undercurrent, like a dark thread, weaves through my stories, often tinged with an eerie feeling that something ominous has occurred or is imminent, giving them a cohesive narrative.

Hearing this new album is reminiscent of gazing at foggy English moors as you sense danger closing in, symbolically represented: “Honey Water” portrays a woman trapped in a toxic marriage with an untrustworthy man who she compares to a parched insect. In “Mega Circuit,” a voyeur observes a group of disillusioned men wandering aimlessly over a pulsating, ominous guitar rhythm. On “Little Girl,” one of the most poignant tracks on the record, a father contemplates his distant relationship with his daughter in a deserted hotel room while he urinates in a corner (“Seven years of racing at top speed/ Recovering cheaply overseas/ Yearning for a daughter who won’t respond to me/ Racing towards my father returning home.”). Despite their dramatic nature, these emotions resonate deeply—they express feelings of longing and vague despair during a time when loneliness is prevalent in society due to a public health crisis.

The songs, their narrative structure, the carefully crafted, minimalist tunes – it’s all exquisitely painful yet intentional.

After the passing of her mother, Zauner admitted that she became excessively focused on her work. Although work provided stability, it inadvertently led to neglecting self-care, personal life, and relationships with loved ones. The release of her books, Crying in H Mart and Jubilee, followed by a restorative trip to Korea, prompted Zauner to ponder the challenges faced by creative working women in their mid-30s – the sacrifices often demanded by ambition. These thoughts particularly resonated with her as she contemplated harmonizing her career with growing her family while creating For Melancholy Brunettes.

Zauner expresses a sense of preemptive sorrow over the prospect of motherhood, acknowledging the creative void it might bring. She reflects on how she’s often overlooked men’s misbehavior due to their influential roles and responsibilities in supporting their families. Now, as her artistic career evolves, Zauner ponders the intricate dance between self-absorption inherent in artistry and striving to be a compassionate individual.

The song “Orlando in Love,” the lead single from her album, was what initially captivated her to write it. Drawing inspiration from John Cheever’s reference to the unfinished epic poem “Orlando Innamorato” by Matteo Maria Boiardo, the track tells a tale about a naive, love-struck man who falls victim to a mermaid’s allure. In some aspects, Zauner sees it as a mirror of her own thoughts on success, stating that “you’re chasing your dreams in a reckless manner, and sometimes you’re penalized for being so direct with it.” She adds, “If you push too far in your ambitions, it probably won’t end well.

2025 saw the Grammys taking place a week prior to our conversation, and there was still widespread excitement, not just about Beyoncé’s long-awaited Album of the Year win, but also due to Chappell Roan’s bold speech during that event. Roan, who had won the Best New Artist award, used her platform at the podium to criticize the record industry for neglecting to provide essentials like a living wage and health insurance to emerging artists. Upon hearing this, Zauner quickly expressed her approval on X, saying, “Way to go Chappell!!!!!”, which unintentionally caused some confusion; some people misconstrued “way” as an insulting “you,” leading Zauner to be taken aback.

Zauner expressed her thoughts by saying it was astonishing, while also finding it absurd that someone as beneficial to the world as Roan experiences so much hardship. She admits that Roan motivates her to be more vocal and brave in her artistry. Zauner finds it humorous yet ironic how award shows, which honor the same industry, tend to overlook the challenges within it. However, she appreciates how eloquently and bravely Roan articulated the issues plaguing the industry.”

This version aims to maintain the original meaning while using more natural and easier-to-read language.

As a film aficionado, I can’t help but notice a similarity in the intent of “For Melancholy Brunettes (and Sad Women)”. It seems to be addressing the very issue that many of us grapple with – naming our pain and finding hope amidst it all. Despite the deep scars, the battle wounds, the hardships, and the criticisms, there’s a silent promise that we’ll eventually emerge from the shadows into the light.

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2025-03-13 17:06

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