When an artist from a successful, well-known band records a solo album, the first question is, “Why?”
Most of the time, it turns out to be internal tensions, a desire to do something different creatively, or both. The key to answering the question honestly is remembering that the artist often denies these motivations at the time. It’s only later—in the tell-all memoir—that the truth emerges. So when Chvrches frontwoman Lauren Mayberry announced her new solo LP, Vicious Creature—dropping this Friday—many fans asked that very question.
To be fair, Mayberry has denied problems in the Chvrches camp, telling assorted media outlets that it was a desire to explore her own creative muse outside of the limitations of the band. But are we wrong to think “that’s what they all say?”
And while we probably won’t know for sure until further down the road when Chvrches reconvenes, there’s no question that Vicious Creature focuses on a more pop-oriented sound as opposed to the luscious, Depeche Mode vibe that Chvrches generates via massive production. Did a desire to strip that down put her at odds with her multi-instrumentalist bandmates? Well, who knows?
What we do know is that she’s given us a strong, well-written record. Yes, she had collaborators, but the record has a personal flavor that you can’t fake. The album takes cues from her early musical loves, such as Tori Amos and Fiona Apple. Whereas a new Chvrches record has more elusive melodies that leave you saying “I’m going to love this eventually once it sinks in,” Vicious Creature has an immediacy, infectious and accessible on first listen.
Is it fair to compare to Chvrches? Eh, probably not. But even music reviewers live in the real world and it’s going to happen.About that. Given the changing nature of the music biz, none of the sound of Vicious Creature is exactly a mystery at this point, so plenty are already forming opinions. Though the record drops in a few days, five of the 12 tracks are already available, giving listeners far more than a taste.
This record is not a wall of synths and beats and aptly demonstrates who does what in Chvrches. Consider one of Chvrches best songs, “Bury It,” from Every Open Eye. It has an infectious synth riff, and nothing on Vicious Creature takes synths this far out of the background. Instead, Vicious Creature is like a meeting in a comfortable library room or parlor while “Bury It” bangs away in the ballroom for those more interested in moving their feet.
But that’s not to say Vicious Creature doesn’t have a groove. Opener “Something In The Air” sounds melodically like Chvrches—you can hear the cadence in Mayberry’s voice. She even manages to use the words “conspiracy theories” in a way that isn’t frustrating, which is a real achievement in our QAnon-tainted era. “Sunday Best” also sounds like Chvrches and will likely please a lot of fans following Mayberry from that project.
But there are a lot of different paths, too. “Shame” has an almost-acapella section that’s hard to picture on a Chvrches track. “Oh, Mother” is a touching piano ballad inspired by family illness. It boasts a warm personal ambiance that’s hard to pull off, with an emotion that recalls Fleetwood Mac’s Christine McVie at her heartbreaking best. This track wasn’t released as a single and may provide the biggest surprise for listeners. “One of the Boys” has a distorted percussion sound that is the flip side of “Oh, Mother,” with corrosive moments that could appear on the score of a dystopian film. In Terms of the intensity of the beats and punk rock stylings, it weirdly seems almost more Chvrches than Chvrches.
The album highlight is arguably “Change Shapes,” one of the advance singles. It sounds like Madonna, although Mayberry has a more angular sense of melody. The chorus is a great theme for the album, even though the lyrics are likely inspired by relationship: “I change shapes / ‘Til I get what I need from you / We’re all snakes / But what else is a girl supposed to do?”
Madonna isn’t a bad touchpoint for the entire project; she is a template for this kind of artistic shape-shifting. Given the types of influences Mayberry cites, she probably wouldn’t object to the comparison. Overall, the lyrics find Mayberry in the promised introspective mood, unsurprising for a solo record. She writes of leaving past loves in the rearview mirror, presumably a factor in her well-publicized successful relationship with Sam Stewart, son of Eurythmics’s Dave Stewart. She has stated that she took a character-driven approach to some of the material, but even that feels personal. It’s often said that the best writers write about themselves, and that may be. Or it may be that she is just good at inhabiting her characters and bringing them to life, similar to a talented actor.
Overall, Vicious Creature is an enjoyable record that rewards thoughtful listening. The rumors are true: Lauren Mayberry has changed shapes and by design. What else is a girl supposed to do?
