Mitski’s eighth studio album, Nothing’s Going to Happen to Me, was released on February 27. The artist describes the album as the story of “a reclusive woman in an unkempt house – outside of her home she is a deviant; inside of her home she is free.” Through this conceptual structure, Mitski explores familiar topics like isolation and desperation in a new way.
The cover art stands out compared to her past albums, featuring no text nor people. The full cover design – painted by Marc Burchart – features a medieval-esque white cat, oblivious to the fact that it’s about to be pounced on by another cat in the corner. This, combined with the title which is meant to be from the perspective of the white cat, sets a foreboding tone, previewing how Mitski will continue to blend serious topics like isolation, lack of control, and death with irony.
It starts off strong with “In a Lake.” The majority of the album follows her grappling with the end of a relationship; in this first track, she describes how she wants to forget and start anew. It begins with simple, folk-style instrumentals. This creates a sorrowful but serene atmosphere, like you’re floating in the water, lost and hopeless, but anchored. This stability is quickly dismantled after the bridge, escalating into an orchestral and urban cacophony. The vocals intensify as well; Mitski’s voice fights over the chaos, peaking at the line, “The lights all around you, the dark safe inside.”
This transitions into punchy rock-style drums on “Where’s My Phone?” which functions as a lens straight into Mitski’s mind, demonstrating the need to dissociate and escape. The tempo is faster than other tracks and the melody frequently switches between B-flat major and G major. These elements create a sense of anxiety and desperation that calls back to older songs like “Brand New City” and “Townie.” The vocals in this song, paired with the rock instruments, are captivating, making it one of the most memorable tracks.
“If I Leave” implements the anxious feeling of “Where’s My Phone,” and marks the beginning of Mitski’s dive into the desolation first hinted at in “In a Lake.” She sings about how she won’t leave a relationship for the fear of never being understood or loved again. Throughout this album, Mitski’s ability to explain emotion through vivid imagery shines. The painful, raw lyrics “I ride through a tunnel and it’s dark the whole way,” perfectly exemplify the inescapable depression and uncertainty she feels, helping the listener better understand her desperation.
“Dead Woman,” a dark exploration of the objectification and restriction of women, begins with the lyric “Would you have liked me better if I died?” Mitski then paints the picture of someone taking the narrator’s things and recounting her life incorrectly while completely disregarding her humanity. She criticizes how throughout history, women have been pressured to act “dead inside” and are objectified even after their demise.
Fatality is a recurring theme in Nothing’s Going to Happen to Me, that Mitski interprets in unconventional ways. Death takes the form of a friendly visitor in “Instead of Here,” returning each time Mitski calls and waiting patiently for her time. This song displays the peak of isolation and avoidance in the album, closing with the repeating line, “I’m where nobody can reach.”
Bossa nova inspired “I’ll Change For You” hurls the listener back into grim reality. In the song, the artist takes an age-old sentiment and delivers it in the most tender way possible. While a beautiful arrangement plays in the background, Mitski pleads to be loved again. Her willingness to give up her identity comes from a place of loneliness; the clinking glasses and laughter that precede the lyrics “Bars, such magic places, you can be with other people without having anyone at all,” further reinforce this idea. After the bar closes, she compares herself to “a kid waiting for [her] ride,” showcasing the dependence and lack of power she feels in this situation.
“That White Cat” possesses a ridiculous premise: a cat marks her house, in turn, claiming it as his own. Mitski sharply complains about how she has to pay for that cat’s house and all the animals living in her disheveled home. Throughout the album, Mitski designs a clear mental image of a secluded house with peeling paint, clutter strewn everywhere, and possums in the attic that has become her personal sanctuary. The cat has stolen her safe haven and her sense of control, and she must support his livelihood now.
Another conceptual track follows; “Charon’s Obol” revolves around a woman who isolates herself in her house feeding dogs of the deceased girls who previously lived there. Its name refers to the practice of placing coins into the mouths of corpses in Ancient Greece so they can pass safely over to the afterlife. The woman acts as the house’s token; Mitski suggests that “she can heal the heart of her house, feeding all the hounds at its mouth.”
In the closing track, “Lightning,” Mitski explores the theory of reincarnation. It begins a bit monotonous and amplifies towards the end, similarly to “In a Lake.” She envisions returning to life as the rain and beholding natural wonders once again. The song serves as an acceptance of the heavy topics she explored in the album, relieving the tension and despair she felt. Mitski hears “the song of [her] death” coming from the thunder and the song ends with her responding, “Polo!”
Each song features live instrumentation from her touring band and an orchestra, which allowed for more experimentation with the arrangements. Other than standouts like “In a Lake,” “Where’s My Phone,” and “I’ll Change for You,” the instrumentals remain very basic and become repetitive. The songwriting makes up for it in most cases, but it would have been nice to see this opportunity taken advantage of, especially considering Mitski’s skill for blending genres and utilizing innovative arrangements.
Overall, Nothing’s Going to Happen to Me is very cohesive, with a few moments of contrast. It’s a great album to listen to from start to end so you can hear the entire narrative unfold. It’s really worth a listen; the production, vocals, songwriting, and emotional intensity shine as always, while the conceptual narrative sets it apart from Mitski’s past work.