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(Dead Oceans)Playing country-inflected orchestral pop with sardonic wit and deep feeling, Mitski underlines why she’s one of the very best singer-songwriters working todayMitski Miyawaki has a complicated relationship with fame. She withholds intimate details in interviews – one journalist was requested not to reveal the name of her cat – and retreated from social media in 2019. The same year, she announced her retirement onstage. She subsequently reconsidered, although a persistent online rumour suggested the ensuing album, her sixth, was another farewell. Pop-facing, trailed by Working for the Knife, a single that seemed to be about not really wanting to return to music, and packaged in a sleeve that depicted her trapped by lines meant to represent her own songs, Laurel Hell was held to be a contractual obligation that, once fulfilled, spelled the end.We are hardly talking about Taylor Swift levels of stardom here: in 11 years, Mitski has released just one big-selling album – 2018’s Be the Cowboy – and has never had a traditional hit single. But hers is a resolutely 21st-century kind of success, involving TikTok virality – by 2022, her music had soundtracked more than 2.5m videos on the platform – memes and hashtags, tracks that go gold and platinum without grazing the charts, indicative of being streamed obsessively over a long period. That a lot of the memes and hashtags suggest her music is a replacement for therapy perhaps says something about the intensity of her fanbase. You could see why she might consider beating a permanent retreat. Continue reading...