Angel Olsen - Whole New Mess Review
It’s rare, really, that a stripped-back version of an album can feel as distinct as it does here.
Following last year’s critically acclaimed All Mirrors, Angel Olsen’s Whole New Mess allows us to experience the raw version of the album. Written following the end of a six-year relationship, Olsen ruminates about her heartbreak to avoid a return to the unhealthy behavioural patterns of her past. While much of the grandeur of All Mirrors is lost, we are instead offered more vulnerability and raw emotion. We also gain some songs which did not make it onto All Mirrors but, for those which did, it feels that Whole New Mess imagines some (but not all) in a way much truer to the subject matter.
The opening track, ‘Whole New Mess’, one which did not make All Mirrors’ final cut, sets the tone perfectly. The track discusses the theme of addiction, how it can take hold so quickly and have such drastic consequences – creating the titular “whole new mess again”. Olsen had previously struggled with alcoholism, depression, and isolating herself from those around her; this song, she says, is a reminder to avoid slipping back into the behaviours that create these issues. While the song is not particularly novel, nor a huge artistic statement, the vulnerable, pure vocal performance conveys the emotion powerfully.
The next three tracks, ‘Too Easy (Bigger Than Us)’, ‘(New Love) Cassette’ and ‘(We Are All Mirrors)’, existed on All Mirrors but, to varying degrees, seem like this is how they were intended to be heard. This is particularly the case, I feel, for ‘(We Are All Mirrors)’. Though something is lost stylistically without the production of John Congleton to create the grandiose statement of ‘All Mirrors’, this stripped-back version, highlighting her voice much more, allows for the personal introspection of the track to push through clearly. Though the song-writing on this track is not groundbreaking, this version feels more honest, in its own way.
‘Waving, Smiling’ is the next song featured which was not on the final version of the album but it is unfortunately understandable why that was the case. The melody is not particularly memorable and, despite glimpses of beauty, the vocal performance is one of the weakest on the album. The lyrics focus on heartbreak and the accompanying struggles she underwent during this but for the first half of the song she does not convey particularly what is being felt – though by the end this does improve a little.
‘Lark Song’, without the context of All Mirrors, would probably be one of my favourite songs from Whole New Mess. However, ‘Lark’ probably gained the most from the chamber pop production of All Mirrors, allowing it to reach its full potential – particularly in the way that the chorus bursts through. It is a shame, then, that this song has to be compared to the other version because, on its own, it’s great. It explores the topic of still loving your ex, while knowing that the relationship has to end: “If only we could start again/Pretending we don't know each other”. Stylistically, one thing I prefer about this version is that it sounds like it is being belted out into an empty concert hall, echoing against the walls. However, it has to be wondered how many people would choose to listen to this version over its All Mirrors counterpart.
‘Impasse (Workin’ For The Name)’ has a similar empty-concert-hall feel to it but, unlike ‘Lark Song’, I’d say it stands out in Whole New Mess much more than in All Mirrors. Lyrically, it seems to relive an argument which possibly could have led to the end of the relationship, where the anger and desperation comes through a lot more clearly. Following this is ‘Chance (Forever Love)’, which, relatively, probably changes the least from Whole New Mess to All Mirrors. The guitar melody, for example, is still front-and-centre in All Mirrors but enhanced with chamber pop production. The Whole New Mess version certainly sounds a lot less optimistic, however. While this tone may, again, be a little more honest, this time the song is not as a whole necessarily better off for being stripped back.
The closing track, ‘What It Is (What It Is)’, is probably the only moment on Whole New Mess which does not feel so bleak. The style feels country-influenced, which I usually don’t like as much as I like it here. Lyrically, it discusses how it’s so easy to say that you’ll love someone forever when you feel so passionately about them but that it’s not necessarily always going to be true – rather wise advice. Somehow, sonically, the song projects this wisdom to its sound. However, the fairly experimental instrumentation of the All Mirrors version elevates its sound, making it more interesting, though losing some of that aforementioned wisdom.
It’s rare, really, that a stripped-back version of an album can feel as distinct as it does here. However, while the emotions are brought front-and-centre here (it is understandable that Olsen has said that she struggles to listen to it without breaking down), the production of All Mirrors is generally seen as one of its main selling points – and we don’t have that here. While some songs, such as ‘(We Are All Mirrors)’ benefit greatly from being released in this fashion, others, such as ‘Lark Song’ suffer. On its own, Whole New Mess is a strong, raw break-up album, but following All Mirrors it feels like less of an artistic statement which is, despite losing of the emotion and personal touch, a more actualised album.
