15 year old indie pop prodigy Billie Eilish has released her debut collection of songs after piquing interest with the haunting single “Ocean Eyes”. With her don’t smile at me EP, Eilish quickly establishes herself as one of the most exciting new acts at the moment. It is impossible to believe that she is only 15 – not only due to her talent and fully developed artistic vision and identity, but also due to her subject matter.
Eilish’s dark and menacing lyrics, and that cold stare she stares at you from her music videos, can be genuinely terrifying. Clearly inspired by the blend of sweet sounds and disturbing thoughts recently popularized by artists like Melanie Martinez, Eilish delivers on 8 tracks with an aching, paper-thin voice and outstanding musicality.
Much of the project is actually a collaboration with her brother, Finneas O’Connell, who produces every track and provides harmonies on a few. Known primarily for his acting work on Glee, his contributions to the instrumental do quite a bit to help his sister stand out.
Many sound like an amalgamation between more creative trap beats, using elements of the genre to make more complex rhythms, and the most aggressive material to come out of the dubstep boom of the early 2010s. The creeping bass and other elements that sound like they’re from a haunted carnival really paint the picture of Eilish’s words.
Eilish’s vocals are the centerpiece of each and every song despite how much is frequently going on in the background – “COPYCAT” drops into its chorus with some skittering hi-hats and a punishingly loud bassline, but the attention is snapped right back when she first hits that three-part harmony on the chorus.
We get the first glimpse at just how dynamic here vocals can be when the song hits its bridge – after threatening “watch your back” at the copycat in question, the electronic instrumental drops out and is replaced by some sparse piano notes. Eilish reaches into the top of her range and sounds like she’s about to cry as she apologizes for being so antagonistic. Then, she whispers “sike”, and the bass drops again. Her voice does sound very similar to Martinez’s, but these songs are a lot more rhythmically driven, and perhaps even more lyrically twisted.
“idontwannabeyouanymore” drops into one of those 3/6 time signatures that hook me every time. The piano ballad adds a swinging drumbeat in the chorus as she delivers some beautiful and breathy harmonies. It’s the best melody line on the whole project, as she alternates hitting her biggest notes with the off-beat of 4 pounding piano strikes. The song’s title is spoken to Eilish’s mirror, as she sings about her insecurities.
“my boy” is even more reliant on rhythm, as she once again navigates speedy hi-hats, a beat switch, and adds a few extra syllables to words resulting in a delivery almost like a rapper’s triplet flow.
“bellyache” is the darkest song here, and the most musically upbeat and unique. Written from the perspective of a serial killer who kills all her friends and then herself, Eilish wails “Where’s my mind?” and muses on how “funny” it is that she’s “too young to go to jail” as the police close in on her house. “It’s really fun to put yourself into a character”, Eilish said in an interview. “You don’t have to kill people to write a song about killing people”.
Eilish’s songwriting is never overly wordy, but makes the most of every word she writes down to affect listeners without saying a lot. It’s the smartest and most concise pop songwriting I’ve heard since Lorde, who also got her start young. “Party Favor” is perhaps the best juxtaposition here – the sugary sweet melody and instrumental punctuated by ukulele and a children’s toy piano sounds like a bedtime lullaby, but the lyrics betray something else.
The song’s first minute is low-fi, framed as a voicemail breaking up with an overly possessive boyfriend. “I hate to do this to you on your birthday”, she says. “Happy birthday, by the way…”. As she cheerfully cuts him from her life, she threatens to call the cops – or worse – his dad. It’s one of the only moments where we’re reminded we’re hearing a teenager’s voice.
By the time we get to “ocean eyes” at the end of the project, the warmer sounds and poppier sensibilities give us some much needed reprieve from all the dark thoughts we’ve heard. She finally starts singing about falling IN love instead. I really can’t say enough about how flawless Eilish’s vocals are – the track is less in your face with the production here and her laser-focused pitch on some difficult high notes is highlighted here.
Written when she was only 13, her confession “I’m scared … never fallen from quite this high” is very emotionally affecting due to her delivery. She sounds scared, and we were all there once at her age. Her words are all the more meaningful when placed after 6 tracks of scathing anger directed at herself and others.
It’s easy to see why Eilish is already getting attention from some very innovative artists like Marian Hill and blackbear, who have both offered remixes of her songs. Regardless of her age, this is one of the most unique and interesting debuts I’ve heard in a very long time.
I try to be stingy with my 10s and wouldn’t normally give one to an EP but Eilish’s fully realized vision completely shocked me. She deserves it, and here’s to a long career ahead.
Favourite Tracks: idontwannabeyouanymore, my boy, ocean eyes, bellyache, COPYCAT
Least Favourite Track: watch