Melanie Martinez's creative drive and talents have always distinguished her from other musicians. After releasing her platinum-certified 2015 debut album, Cry Baby—which reached No. 1 on Billboard's alternative albums chart and has amassed over two billion streams worldwide —she conceived and directed a video for each song on the album. These mini-movies traced the traumas and insecurities experienced by the album's character, Cry Baby.
 
Melanie’s sophomore album and film, K-12, is another ambitious triumph. K-12's music is a vibrant and singular melting pot of low-key hip-hop, soulful pop and indie-leaning electro. K-12's universe is an expansion of the one introduced in Cry Baby. Using lyrics rich with metaphor, songs address the struggle to find a place to belong—including within friendships, the physical world and romantically—even when fitting into society feels like an uphill battle.
 
To accompany the album, Martinez wrote and directed a 90-minute movie (also called K-12) that incorporates the album's music and mirrors the themes and characters introduced. Filmed on location in Budapest, Hungary, the movie focuses on Cry Baby (portrayed by Martinez) and a class of students who find themselves trapped in a horror house-like residential school. As they experience the usual grade school rites of passage—a lunch room food fight, the embarrassment of gym class, a romance with nefarious intentions, courses taught by checked-out teachers— they have to figure out a way to escape.

Laurel Hell is a soundtrack for transformation where vulnerability and resilience, sorrow and delight, error and transcendence can all be seen as human, worthy of acknowledgment, and ultimately, love. It cements Mitski as an artist who possesses the power of turning our most savage and alienated experiences into the very elixir that cures them.

Be the Cowboy, Pitchfork, New York Magazine and more’s Album of the Year, launched Mitski from cult favorite to indie star amid a fever of national division. The touring grind and pitfalls of increased visibility influenced her music and spirit. Like the mountain laurels for which this new album is named, public perception, like the intoxicating prism of the internet, can offer an alluring façade that obscures a deadly trap—it tightens the more you struggle. Exhausted by this warped mirror, and our addiction to false binaries, Mitski began writing songs that stripped away the masks and revealed their complex and contradictory realities. 

Mitski’s longest ever writing process concluded amid a radically changed world. She recorded Laurel Hell with her longtime producer Patrick Hyland throughout the pandemic, during which some of the songs “slowly took on new forms and meanings, like seed to flower.”  The tension that emerges between her refined but plaintive lyrics and the effervescent 1980s sound is a desperately needed infusion. It’s the work of a mature artist that delivers nuanced profundity on a current of contagious dance beats.

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