Pirouette - Model/Actriz: Review
Review by Lavender:
Model/Actriz are a New York industrial outfit whose combination of intimate whispered vocals and pulsating metallic sound has garnered more than a few comparisons to Nine Inch Nails. Back in 2022, they released one of the best debut albums of this entire decade with Dogsbody, immediately capitalizing on all the hype they built up. Now, 3 years later, they've returned with a sophomore effort on the back of some truly spectacular singles. On Pirouette, they build on all of their momentum to soar even higher than before with a record whose vulnerability only heightens the tension of its propulsive, masterful instrumentation.
Speaking of those singles which I liked initially, but became even more fond of within the context of the record. "Cinderella" kicked things off as a lead single and introduced a newfound vulnerability to the band's already existent candor. They pay it off in such dramatic fashion with eerie guitar tones and intimate whispers on the hook that are a perfect pairing. Among the deep cuts is even more vulnerability on the "Headlights" interlude, which leads into "Acid Rain." The song is one of the gentlest on the record, deploying sweeter passages with stripped-down guitar sounds, but it still comes off so tense. When it reaches the second half, frontman Cole Haden sings about someone whose voice lingers within his mind, causing him to stay trapped listening to the dial tone of a phone that'll never be picked up. It's emotional, but in such a haunting way, I find it irresistible.
The record's narratives aren't always so emotional, like on "Departures," which has this fascinating motif of observing people at a subway station. Overtime is slips into this feminine fantasy and every time the instrumentation returns in full, gliding down from the repetition of "very embodied," it gets even more eerie. Speaking of eerie, the closing track "Baton" deploys these synths that mimic an organ throughout the song's entire opening passage. As it closes in on the repetition of "Like you are to me, sister" at the end of the song it's so intense and constricted that it's a perfect finale.
The second single, "Doves," gets better and better every time I hear it. It may be the best vocal performance on the entire record, oscillating between thunderous intensity and creaking, fragile harmony with every single refrain along the way getting instantly stuck in my head. That same propulsive intensity is how the record begins with the spectacular "Vespers." It's such an anxiety-inducing way to begin an album with eerie vocals and an instrumental that feels like it's constantly teetering on the edge of an eruption. Even though it never really reaches the peak of volume, the band is capable of that energy never wavers for a second, and once again, every refrain is a complete earworm.
The record isn't flawless from start to finish, but the only place it slows down is for a bit in the back half. "Audience" begins frenetically but pretty quickly gives way to a pretty typical combination of intimate vocals and driving drums. The hook is the one part that I think is just okay, especially compared to just how tightly written all the other choruses on the album are. Thankfully, the way the metallic clattering eventually takes over the song completely is enticing. That gives way to the album's other short song "Ring Road," the only Model/Actriz song I've ever heard where the noise can be a little bit much. With how much space it takes up in the mix, it starts to feel like the more you pay attention, the less you actually hear.
Oh yeah, before I forget, the album actually has two absolute masterpieces that I haven't even talked about yet. The third single, "Diva" really floored me from the moment I first heard it because it's such an unexpected and spontaneous sound. It's one point on the record where the instrumentation feels less confrontational and instead crafts an enveloping space for Cole to weave stories about touring in Europe and meeting men but having nowhere to bring them home to. I find myself hanging on absolutely every single word and when the song reaches it's absolute cuntiest point in the second verse I want to cheer out loud. But the very best song on the record is actually a deep cut. "Poppy" may be the catchiest Model/Actriz song yet with those instantly recognizable bouncy guitars and the "where my tears return as poppies in a field" refrain that is embedded in my head, probably for the rest of my life. The way it creeps along while simultaneously building with intensity and only gets catchier and catchier as the song goes on is absolutely magnificent. This feels like the style the band is aiming for throughout Pirouette executed to its absolute highest potential, and I couldn't love it more.
