Filipino-British artist Beatrice Laus, known better as beabadoobee, released her fourth studio album, “Pylon,” on Sept. 18 with the independent UK label Dirty Hit. Laus made a name for herself in the late 2010s for her lo-fi bedroom pop songs, mostly recorded from her own home. Her first three albums stayed in similar veins, that of the soft, dreamy lover girl variety. “Pylon,” however, is a much-needed break in form for her discography, giving us a deeper glimpse into her capabilities as an artist and songwriter.
The album starts strong with the title track, “Pylon.” The heavy guitar and drums utilized in the opening stood out to me. I had become accustomed to the soapy synth and piano from her past work, where every track would blend together into an enjoyable but overall monotonous listening experience. Suffice it to say, the harder sound is greatly appreciated. The instrumentals were what I considered to be the best aspect of the album. Tracks two and 10, “Sun Has Set” and “Radio,” are terrifically reminiscent of the alternative rock styles of the 1990s. The album did best in exploring the alternative rock style that is currently experiencing a resurgence in popularity. If Olivia Rodrigo takes after The Cure, beabadoobee takes after Weezer.
Some tracks were less fearless than others; “Write Me A Letter” held virtually no difference from a beabadoobee song in 2020. While nice to the ear, with soft vocals and sugary lyrics, the track did not excite me and felt like an outsider. The album as a whole, despite differentiating itself from albums past, could have benefited from a deeper expansion of form. “Pylon” goes heavier, but it doesn’t get dirty. There are themes of isolation, nostalgia and the growing pains of adulthood. Laus is unfailingly honest in exploring the emotional effects of the endless touring that comes with fame as well as the turbulent period of one’s early 20s, but stays relatively clean.
I was excited to see Hayley Williams of Paramore featured on “Nothing to Prove,” yet was disappointed with the outcome. The song was one of the least interesting of the album, even with Williams (who was mostly background vocals). The lack of gritty lyrics or instrumentals was a massive missed opportunity. Laus hosts one more guest on the album, Turnstile’s Brendan Yates on “Powerlines.” This track did better at incorporating punk styles into its production, as well as an entire verse for Yates. I admired Laus's dedication to featuring artists who popularized alternative styles during the 2000s, which is what “Pylon” tries to incorporate.
The fourteenth and final track, “Satellite,” closes out the album with themes of longing and loneliness. I chuckled when she mentioned “doom-scrolling,” which I don’t think I’ve heard mentioned in a song lyric before. I found it to be a nice, soft curtain to “Pylon,” a mature reflection on heartbreak that I would have liked to see more throughout the album.
The identity of “Pylon” as a creative work was best demonstrated in its title and opening track. The harder sound coupled with Laus's enthusiastic vocals made for a punchy and fun experience. This is what “Pylon” should have been completely. Laus dips her toes in the ocean, when I think a full-hearted dive would have been worth the risk. There is always risk in a rebrand, but the most memorable works in music come from one.
I consider “Pylon” to be Laus's strongest work thus far in her career and I’m excited to see what she does next. The ability of an artist to reinvent themselves is their strongest superpower, and Laus is certainly breaking out of her bedroom pop shell.
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