Review Summary: Paranoia, or Paramore-ia?
Former social media star sheds her bubblegum-pop image to reveal her true self.
At just 16 years old, social media star Maggie Lindemann moved from Texas to Los Angeles to pursue her musical dream after her manager watched a video of her singing on Instagram. In 2015 she got into the Top 20 on the iTunes Alternative Chart with the release of her first single (“Knocking on your Heart”) before releasing a couple of more songs in the same calendar year
However, it was her breakout single in 2016, “Pretty Girl”, and its following remixes that propelled her into stardom. (At the time of writing, the Cheat Codes remix of the song had reached over 733 million streams on Spotify, with the original version nearing ‘just’ 56 million listens on the same platform).
A few more songs were released, along with a couple of guest appearances on tracks done by other artists (Vamps and $not), but by this point she was seemingly stuck with a synth/bubblegum-pop tag.
Things changed in 2019 when the rereleased version of her 2019 song “Friends Go” featured blink-182 drummer, Travis Barker. It was with this song that Lindemann finally seemed refreshed and more comfortable with the direction that she wanted to take her career, and over the course of 2020 she released four tracks that were bolder and more fearless than her fans and critics were expecting.
And it is these four tracks that open up her 8-track EP, Paranoia
We start with “Knife Under My Pillow”, which relives the song-writers real life fear of anxiety and paranoia. The song structure gives strong Avril Lavigne vibes and is a fine example of the pop-punk approach that Lindemann was aiming to achieve, with the striking drums flowing throughout the song.
Out of all the tracks on the album, “GASLIGHT!” is the one that could alienate fans of Lindemann’s old music. Featuring fellow LA-based artist Siiickbrain, the song incorporates a very scream-trap sound that may put many off. However, I commend the experimentation that the two have worked on here and it gives a clear indication of the way that Lindemann wants her career to evolve, whilst also breaking through her musical boundaries.
The electronic instrumentation of “GASLIGHT!” carries over to “Scissorhands” which opens with a very Skrillex-like introduction before it mesh’s together with the melodic guitars that we were introduced to on the opening track of the EP. On a personal note, I have to acknowledge the fact that Lindemann has openly admitted that the primary inspiration behind this song is one of my favourite Tim Burton films; Edward Scissorhands. Kudos to you, Miss Lindemann!
“Crash and Burn” is basically a Paramore tribute (I mean, come on…….. can you listen to it, without thinking of "Misery Business"?) which continues the albums trend of pop-punk angst. But one thing I have to note is that I admire the way that this song is followed up by “Loner”. Where "Crash and Burn" can be portrayed as an uplifting break-up anthem, "Loner" is clearly a call to independency. For me, that shows a clever level of both song-writing and album structure. Had this song been placed anywhere else on the track-listing, then it may have hindered the flow of the album.
Lindemann’s delicate and soft vocals are showcased in the acoustic and stripped-back “Love Songs”. It is a song that is dedicated to her current boyfriend (PRETTYMUCH boy band member, Brandon Arreaga), and brings back memories of her earlier work (more specifically, her 2015 track “Couple of Kids”). To me this indicates that although she made compromises in the early stages of her fledgling career to form a foundation to build upon, she is more than willing to dip her toe back into the past.
Perhaps the one track that lets the EP down is “Different”. Her vocals seem to lose traction amongst the clumsy drums and ungainly guitar work, whilst the strong structure fails to hit home as it had on previous tracks. Saying that, it still shows glimmers of promise with its catchy bridge.
“Paranoia” is brought round full circle back to Lindemann’s alt-rock influences with “It’s Not Your Fault". Lyrically it wraps up all the themes that we have heard on the album, and ties it all up with a Flyleaf-like instrumental bow.
>>>>>
Overall, the EP has little in the way of filler and is structured perfectly throughout its short 20-minute span. Instrumentally, it is very nostalgic of the 2000's alternate-rock genre, whilst her vocals have a strong clean balance of both intricacy and power.
With artists likes Poppy and Billie Eilish leading the way in the new wave of metal-pop and goth-pop respectively, it is clear that Maggie Lindemann has finally found her feet and is waving the flag high for the alternative-rock pop generation for 2021.
I, for one, cannot wait to see what comes next.
