Melanie Martinez’s new album, “PORTALS,” showcases the singer’s perplexing and in-depth evolution of self-identity and mental health struggles.
Dedicated fans mourn the end of the Cry Baby era as we shift into the dark and magical realm of “PORTALS,” which highlights Martinez’s new and true self.
“I hope the weight of mortality that society has placed on people becomes lighter. I hope grief becomes easier for people while listening to this record,” Martinez says on her Instagram @littlebodybigheart.
She has released three studio albums, “Cry Baby,” “K-12,” and her most recent album, “PORTALS,” which came out March 31. PORTALS is the final part of the
Crybaby trilogy.
The singer released the songs “DEATH” and “VOID” before the new album dropped and even blessed her fans with the official music video for “DEATH” on YouTube.
The highly anticipated album houses 13 songs and no featuring artists, giving Martinez the full spotlight to showcase her alt version of rebirth through catharsis.
The album starts with “DEATH,” a quick yet somber tune illustrating the official funeral of Cry Baby, followed by reincarnation — shown in the music video as a pink, catlike alien figure.
“VOID” perfectly encapsulates the feelings of depression and anxiety and the demons she faces in her brain by saying, “There’s rotten things left in me / Infected by society / No one here but me to judge me.”
We see a theme of nearly flawless segues from song to song to where you can barely tell when one ends and the next begins with songs like “TUNNEL VISION.”
The tone of the album shifts with “LIGHT SHOWER.” The track embodies the curiosity of the afterlife combined with the desire to cleanse yourself of the trauma you’ve experienced with the lyrics, “I was surprised to see heaven in your eyes / I never once was treated right, you’re what I’m missing in my life / As bright as the sun, give me your vitamin D / Let’s run into another dimension / You make me feel like I’m on drugs.”
“SPIDER WEB” is my personal favorite. The duality of this track is superb. It showcases the struggles society has placed on us, especially in the realm of social media. She sings, “I’m hiding myself from the enemy / I wish to not be perceived / Didn’t ask for this dangerous visibility / I’m feeling too scared to sleep.”
The following two tracks, “BATTLE OF THE LARYNX” and “THE CONTORTIONIST,” are filled with painful verses that ultimately make you feel emotional for the people who relate — those who bend over backward for others, and try to make things work with someone who cannot give the same effort effectively or willingly.
“THE CONTORTIONIST” is accompanied by chilling laughs from Martinez themself, along with bone-crushing sounds that will raise the hair on the back of your neck.
The next two songs are a bit taboo. “MOON CYCLE” and “NYMPHOLOGY” detail the struggles of being a femme-presenting person who deals with the societal standards of women being forced to play mom and speak when spoken to.
“EVIL” is a fan favorite as it is definitely the most relatable recording on the album. Most people can relate to dating a narcissist who calls you crazy or evil for simply “seeing through their bullshit,” Martinez said of the track.
The album ends with “WOMB,” a full-circle experience that prepares you for your next endeavor after evolving to your newest form. The lyrics “Feeling alive, the closer that I get to my life” is a beautiful end to the album before we hear the familiar “Life is death is life is death is life,” which seamlessly pivots listeners back into the first song of the album, “DEATH.”
This album is executed almost perfectly; from versatility, lyrics, transitioning, and eye-opening transparency, this album should be highly praised and a recommended listen to all.
“PORTALS” is available on all major streaming platforms.