Michelle Zauner is, first and foremost, a writer. While many may know her as the lead vocalist and guitarist of the critically acclaimed band Japanese Breakfast, Zauner’s public identity extends far beyond her music. Her multifaceted career reveals a deeper, more introspective side, a key part of her musical and literary success.
Four years ago, Japanese Breakfast released their third studio album titled “Jubilee” (2021), following the publication of Zauner’s New York Times Best Selling memoir, “Crying in H Mart” (2021). The book chronicled her Korean heritage, spawning from her mother, Chongmi, whom she lost to cancer in 2014. In an interview with Vogue, Zauner described her time touring her third album as exhausting her jubilant side, ultimately leading to a personal yearning to return to melancholy, her “more innate state.” Japanese Breakfast’s fourth studio album “For Melancholy Brunettes (& sad women)” was released on Friday, March 21.
This album embraces a mid-tempo indie rock sound, accented by vintage organs, the melancholy twang of steel guitar and the overall feel of wistful Americana, unlike her hard indie-rock beginning and later electronic pursuits. The softer sound lets her lyrics come through more subtly and emotionally to the listener. It shows that Zauner is willing to evolve as an artist, moving away from her earlier styles to explore something quieter and more intimate, which adds richness to her music.
“For Melancholy Brunettes” falls short with its opening track, “Here is Someone,” especially when compared to Japanese Breakfast’s previous three album openers, which were more intense, guiding the listener towards Zauner’s vision exploring themes such as grief, science fiction and joy. Unfortunately, her pre-established bite, her literary lyricism and macabre storytelling, is dulled in the album. The opening track proclaims, “Life is sad but here is someone,” lacking the punch that Zauner typically packs. At her best, the singer can pierce through hearts with a single lyric, but this song is not Zauner at her best.” Cinematic track 7 in “For Melancholy Brunettes,” “Picture Window,” is a nod to the band’s debut album as Zauner sings, “All of my ghosts are real / All of my ghosts are my home.” In this track, the energy Zauner had in the band’s first album returns, kicking off with a burst of fuzzy guitar that fully focuses on her signature style.
The two lead singles — “Orlando in Love” and “Mega Circuit” — take the album in two different directions. “Orlando in Love” dives deep into a literary, almost enigmatic approach to pop music. The lyrics are poetic, weaving intricate imagery and storytelling that evokes a sense of romance and longing, while its dreamy, ethereal production mirrors the complexity of its melancholic themes.
On the other hand, “Mega Circuit” confronts the realities of modern masculinity with a strikingly different tone. The track is raw and unflinching in its portrayal of the vulnerabilities and contradictions inherent in contemporary manhood. With a sharp and sorrowful edge, the song critiques societal expectations of men while exploring personal struggles, emphasizing themes of disconnection, emotional repression and yearning for authenticity.
The fifth track, “Little Girl,” demonstrates Zauner’s power to weave words with her desires. “Seven years of running at a breakneck speed / Convalescing cheaply far abroad / Dreaming of a daughter who won't speak to me,” Zauner sings. This song has a taste of Americana, romanticizing success and pushing forward no matter the cost. Yet, Zauner’s portrayal of this journey is far from glorified — the song is fraught with isolation and yearning. The guitar's gentle plucking mirrors the lull of Zauner’s bittersweet realization that dreams come at a price. This duality — the physical and emotional toll of ambition — is the song's soul, encapsulating the conflict many face between achieving their dreams and reconciling the losses that might accompany that success. Zauner voices the bittersweet triumph of realizing one’s dreams through these lyrics.
This theme of transformation and deeper emotional complexity carries over into another highlight of the album; “Leda” refers to Zauner's role as a storyteller, highlighting her ability to weave intricate mythological references into personal narratives. The song’s name refers to the Greek myth of Leda and the swan, where Greek god Zeus turns into a swan to seduce or assault Leda, the queen of Sparta. In the story, Leda ends up pregnant with two sets of twins—one set from her husband and the other from Zeus. The myth explores themes of power, transformation and violence.
In the song, the reference likely touches on themes of vulnerability, desire, and conflict, much like the myth itself, where beauty and turmoil are mixed. Zauner likewise evokes the story of the Gordian knot, a metaphor-laden with meaning. “Gordian-like knot / Raveled by the days / Tried to cut you off / Somehow pulled it tighter,” she sings. The Gordian knot symbolizes the inescapable complexity of her relationship with this person, suggesting the emotional and conversational entanglements between them are so knotted and convoluted that any attempt at resolution seems impossible. It becomes clear that for Zauner, the only way to untangle herself from the exhausting weight of this relationship is to sever it entirely — cutting ties with this person as one might slice through the Gordian knot.
The album closes with “Magic Mountain.” The song’s title comes from Thomas Mann’s novel, “The Magic Mountain” (1924), a favorite of her husband and bandmate, Peter Bradley. Zauner wraps up the album with a heartfelt dedication to him, singing, “You and me, and soon ours / Bury me beside you in the shadow of my mountain.” The lyrics reflect a love that, while overshadowed by fame, ultimately endures and triumphs over the hardships of the public spotlight.
Zauner’s artistry continues evolving but remains rooted in her undeniable writing skills. With “For Melancholy Brunettes (& sad women),” the band explores a different sonic landscape from their previous works, stepping away from the intensely orchestrated vision — the strings, synthesizers and trumpets — that marked the band’s last album. She returns to her formal melancholy state in her musical pursuits and intelligent lyricism. The album embraces a more subdued, Americana-inspired sound, yet Zauner’s lyrical mastery remains at its core. While “For Melancholy Brunettes (& sad women)” may not hit as forcefully as her previous records did, tracks like “Little Girl” and “Leda” demonstrate her unique ability to blend personal grief with rich literary imagery to produce a consistent and emotionally resonant record.
Martha Caroline (MC) Powell (she/her) (28C) is an Emory student aspiring to major in something important, but she hasn’t quite figured it out. She’s hoping it comes to her in a dream. Until then, she keeps herself busy with Ben Pius Mock Trial, SAPA, and The Emory Wheel. Any free time is spent reading, pining over Michelle Zauner, journaling and trying her best to be gluten free.
