Rising alt-pop teen musician Billie Eilish ‘knocks it out of the park’ on her major-label debut, When We All Fall Asleep, Where Do We Go?.  

After a slow, but steady ascent, 17-year old alt-pop singer/songwriter Billie Eilish has finally released her major-label debut album, When We All Fall Asleep, Where Do We Go?.  Leading up to her highly-anticipated debut, Eilish released an EP in 2017 (don’t smile at me), as well as numerous singles unattached to her major-label debut.  Such gems preceding this ambitious, well-rounded debut include “bitches broken hearts”, “Lovely” (with Khalid), and “Come out to play”.  Focusing on the project at hand, Eilish definitely ‘knocks it out of the park.’

“Bad Guy” 

When We All Fall Asleep, Where Do We Go? commences with a random intro, “!!!!!!!,” which references Invisalign.  Certainly, a left-of-center, ‘alternative’ way to begin an alternative pop LP.  The minimalist ✓ “Bad Guy” serves as the first full-length record, finding Billie Eilish singing in an undertone.  She’s calm, cool, and collected, flaunting off her distinct approach and sound.  Adding to the intrigue of the listening experience are a unique palette of vocal effects, as well as an air of mysteriousness.  “Bad Guy” benefits from an infectious groove, catchy chorus, and a fun, if dark, playful style.

✓ “Xanny” keeps When We All Fall Asleep, Where Do We Go? going strong AF, as Eilish asserts, “I don’t need a Xanny to feel better.”  Why? Well, there’s other drugs, including drink and various smokes.  Like “Bad Guy,” Eilish continues to sing coolly, embracing an undertone against more delicious, delightful minimalist production, courtesy of none other than her bro, FINNEAS.

“You Should See Me in a Crown”

One of the things that’s most impressive about Billie Eilish is her poise, eschewing gospel histrionics.  On standout ✓ “You Should See Me in a Crown”, her vocal tone is breathy as she continues to opt for the more understated.  Even though she’s not screaming aggressively, her teenage angst is in full force, aided by sleek, electronic-infused production.  The best example comes on the chorus, the crowning achievement:

“You should see me in a crown
I’m gonna run this nothing town
Watch me make ‘em bow
One by one by one
One by one by…”

Impressively, Eilish doesn’t have to be profane to frighten you with her attitude.  She just relies on her mesmerizing instrument, alluring songwriting, and laser-sharp production.  At the end, the synths really pop, further amplifying the excellence of the record.  

“All the good girls go to Hell / ‘Cause even God herself has enemies / And once the water starts to rise / And Heaven’s out of sight / She’ll want the devil on her team.” Eilish makes a bold statement with the minor-key “All the Good Girls Go to Hell.” “All the Good Girls Go to Hell” is interesting for a number of reasons.  First and foremost, Eilish embraces the ‘alternative’ label, going against the grain by all means. What makes “All the Good Girls Go to Hell” intriguing are the religious references, likely to raise eyebrows with the religious crowd.  In addition to the ‘God’s enemies’ lyric, Eilish also references Peter (“Peter’s on vacation, an open invitation”) and Lucifer (“My Lucifer is lonely / There’s nothing left to save now / My god is gonna owe me / There’s nothing left to save now”).

“Wish You Were Gay”

“Don’t say I’m not your type / Just say that I’m not your preferred sexual orientation / I’m so selfish.” Yeah, it’s not particularly surprising that “Wish You Were Gay” ended up being controversial, thanks to how it references homosexuality (more on that in a moment). Like everything that precedes it, Billie Eilish takes a low-key approach to singing, yet still manages to pack a sizable punch. She opts for balladry and is ultimately successful as she portrays the relatable topic of heartbreak.  In many respects, she checks off boxes. But the big issue with the song is the perceived homophobia.  The narrative is that a guy that she liked dumps her, and she hopes it’s because of his sexual preference and not because of her. Focusing on only the song, it’s definitely worth the listen, if not necessarily among the most elite cuts of the album.

✓ “When the Party’s Over,” among the most beautiful songs of the album, also continues the enigma that’s consistent throughout. Some of the selling points include the use of space within the production, the beauty and minimalism of the backdrop, and the smooth vocals and sweet vocal harmonies.  Billie Eilish sounds fantastic on this ballad, no questions asked. “8” employs more groove, thanks to a simple drug groove and rhythmic ukulele accompaniment.  Even with groove on its side, the pace remains on the slower side of the metronome.  Also, the vocal effects, specifically pitch-shift, are in play, adding to the overall unique vibe of the record.

“My Strange Addiction” 

“You are my strange addiction… My doctors can’t explain / My symptoms or my pain / But you are my strange addiction.” Yep, the LP continues to roll on autopilot with “My Strange Addiction.”  There’s an element of the odd and bizarre, amplified by the lyrics, yet the draw – the allure – is simply irresistible. Adding to the alluring ‘strangeness’ of the record are the intro, interlude, and the outro.

Standout ✓ “Bury a Friend” served as a truly entertaining, haunting advance single. “Step on the glass, staple your tongue / Bury a friend, try to wake up / Cannibal class, killing the son / Bury a friend, I wanna end me.” The ‘alt’ is full throttle on the totally left-of-center joint from the jump.  The kick drum dominant groove is unique, and has a haunting, enigmatic sensibility.  That sensibility on extends with the continual undertone of Eilish, who sounds quite nonchalant, as well as more terrific minimalist production work.  The things that Eilish and FINNEAS concoct continues to be distinct.

“Ilomilo,” named after a puzzle game, is short, yet maintains the sweetness of the LP.  It checks off the boxes: awesome minimalist production, subtle vocals, and unique songwriting. Notably, she references the preceding gem, “Bury a Friend” (“The friends I’ve had to bury / They keep me up at night”).

“Listen Before I Go”

“Take me to the rooftop / I wanna see the world when I stop breathing.” Hmm, well that’s incredibly morbid. Naturally, the lethargic-paced ✓ “Listen Before I Go” is heavy to the nth degree, referencing suicide… ouch. Sorry can’t save me now,” Eilish sings on the chorus, later adding, “Sorry there’s no way out / But down.” What is fueling the suicidal thoughts that cross the protagonist’s mind? Depression, it seems.

Penultimate cut “I Love You” is another lovely record, featuring backing vocals by FINNEAS.  The chemistry is as good as you’d expect from two musicians familiar with one another. While it is a wee bit slow, particularly after so many slower cuts throughout the LP, it separates itself thanks to incorporating more acoustic elements. The haunting, two-minute-long “Goodbye” closes out When We All Fall Asleep, Where Do We Go? superbly.   

Final Thoughts

All in all, When We All Fall Asleep, Where Do We Go? is a marvelous, well-rounded debut album by Billie Eilish.  Honestly, it’s hard to believe that this clever project came at the hands of a 17-year old.  Never underestimate the kids, that’s for sure.  Eilish brilliantly establishes her artistic identity and shows a respectable level of versatility throughout her major-label debut.  Sometimes things grow a wee bit slow, and occasionally, she could dig in a bit more, but that’s honestly being nitpicky to the nth degree.  The big takeaway is that When We All Fall Asleep, Where Do We Go? is a rousing success that finds its young artist unafraid to embrace innovative spirit.

✓ Gems: “Bad Guy,” “Xanny,” “You Should See Me in a Crown,” “When the Party’s Over,” “Bury A Friend” & “Listen Before I Go”

Billie Eilish • When We Fall Asleep, Where Do We Go? • Darkroom / Interscope • Release: 3.29.19

Photo Credits: Darkroom / Interscope