The desire to vanish is a powerful undercurrent in Mitski's latest offering, 'Nothing’s About to Happen to Me,' but is it a cry for solitude or a reaction to a crumbling relationship?
Last month, Mitski dropped 'Where’s My Phone?', the first taste of her eighth album, 'Nothing’s About to Happen to Me.' This track unleashes a potent alt-rock energy, a more robust evolution from the lo-fi charm of 'Bury Me at Makeout Creek.' For UK listeners, there's a distinct Britpop swagger to its rhythm, culminating in a guitar solo so fiercely distorted it feels like a glitch in the system. The accompanying video plunges us into a darkly humorous and unsettling narrative: a mother, clad in a headscarf, fiercely shields her family from the outside world with escalating violence. Imagine a milkman under attack and a daughter's suitor left brutally beaten – it's a vivid, almost surreal depiction. The visuals weave in literary and artistic references, from the isolation of Rapunzel and the unsettling atmosphere of 'Grey Gardens' to the iconic stillness of Grant Wood’s 'American Gothic' and the gothic seclusion of Shirley Jackson’s 'We Have Always Lived in the Castle.' These all paint a picture of deliberate, chosen isolation.
This thematic thread of wanting to disappear, of being 'where nobody can reach,' as she expresses on 'Instead of Here,' permeates the entire album. The opening track, 'In a Lake,' doesn't champion a move to the city for glitz and glamour, but for obscurity – a way to erase one's past. "Some days you just go the long way to stay off memory lane," she sings, a poignant reminder of how we sometimes actively avoid our own histories. 'I’ll Change for You' elevates bars to 'magic places' precisely because of their anonymity, offering a space to be "with other people without having anyone at all." And on 'Rules,' the promise of a new haircut becomes a metaphor for becoming "somebody else." Yet, this profound yearning for escape is set against a backdrop of beautifully crafted music, a compelling blend of alt-rock, country-tinged laments, and grander sonic ambitions. The genius of 'Rules' lies in the stark contrast between its despondent lyrics and the surprisingly upbeat, richly orchestrated, early 70s easy-listening arrangement.
But here's where it gets controversial: Mitski's relationship with her own fame is notoriously complex. Her Wikipedia page even features a section ominously titled "views on her fanbase." This tension was perhaps amplified by her 2023 hit 'My Love Mine All Mine,' a track of understated dreaminess that nonetheless sold 4 million copies in the US and charted globally. However, the album's deep dive into anonymity and solitude seems to stem less from the pressures of stardom and more from the raw pain of a failing relationship. Tracks like 'Cats' and 'If I Leave' sketch the awkward silences and desperate undertones of such a connection in excruciating detail. This central theme, however, resonates universally, especially in our current climate. Who, over the past year, hasn't felt an overwhelming urge to disconnect entirely from the relentless deluge of distressing news?
In 2026, the music landscape is certainly not lacking in self-examining millennial singer-songwriters who bare their souls to indie-pop soundscapes, often drawing heavily on late 60s and early 70s influences. Yet, 'Nothing’s About to Happen to Me' transcends this crowded space. Mitski simply excels. Her melodies are stronger, her atmospheric creations more immersive, seeping into your very being. Her lyrical prowess is remarkable, balancing deeply affecting lines like “I’ve been trying to start trying to be like someone you’d still like / Maybe if I could, you already would” with a mordant humor that cleverly sidesteps any accusations of self-indulgent narcissism.
Consider 'Dead Women,' a track that swings from the horrifying to the hilarious as Mitski imagines herself as a ghost, observing friends and ex-lovers inaccurately heroicizing her life story. 'That White Cat' spins an existential crisis of belonging from the simple act of a cat marking its territory in her garden: “It’s supposed to be my house, but I guess, according to cats, now it’s his house.”
Across its 35 minutes, the album offers a journey that is thought-provoking, emotionally wrenching, and surprisingly laugh-out-loud funny. There's an abundance of unhappiness here – Mitski has cited Eric Carmen's melancholic 1975 soft rock hit 'All By Myself' as a key influence – but from this wellspring of sorrow emerges something remarkably delightful and rewarding. If misery indeed loves company, then Mitski’s company is undeniably worth seeking.
'Nothing’s About to Happen to Me' is set for release on 27 February.
This week, Alexis listened to:
- The Scratch – Pullin’ Teeth (ft Kevin Rheault) On paper, Irish traditional music fused with heavy rock sounds like a recipe for disaster, but in practice, it’s bracingly effective, further amplified by Kevin Rheault’s raw, powerful rapping.
What do you think? Does Mitski's exploration of isolation and relationships resonate with you? Or do you find her commentary on fame more compelling? Share your thoughts below!
