Album Review: Jubilee
To describe Jubilee, I would tell you to imagine standing by the ocean at dusk, the tug of the falling tide drawing you toward a far-off lover, and at the same time dancing madly in a parade of energetic refrigerators, electric guitars, and bugle-blasting frogs, moving through city blocks and alleyways under a never-ending downpour of confetti. I first came upon this album this past April after randomly hearing one of its songs during the Coachella live stream, and since, I haven’t stopped listening. It’s one of my go-to albums to recommend and was an emotional support album during a turbulent summer.
Jubilee, the third studio album of the grammy-nominated alternative pop band Japanese Breakfast (released June 4, 2021,) explores the necessary relationship between past and present. How reflection on a low or sometimes nostalgic point in our past can serve to bring us forward, to reach Jubilee. Headed by the dreamy vocals of Michelle Zauner, New York Times Bestselling author of Crying in H Mart, this third album is an exclamation of joy, diverse in its musical style and lyrics. Each song is a stylistic individual. No song underbaked. Nothing left as filler. It’s an immaculate feat of experimental dream-pop I couldn’t wake up from. Zauner stated in an interview that “an artist’s third album should be a statement,” and I think that Jubilee has done that in a parade of well-written, satisfying, and emotional music.
Before I begin, I must preface that this review will cover some of the album's highlights as this album, I believe, shouldn’t be explained too heavily. I don’t want to ruin the fun.
The album opens with “Paprika,” inspired by the ending parade of Satoshi Kon’s 2006 film Paprika. The song slowly opens, the first line, “Lucidity came slowly,” matching the musical progression. The song builds toward this moment with dreamlike lyrics that unravel into the chorus, where Zauner crashes down and opens the floodgates, marveling at her ability to “linger in tones and words” as an artist. She cries out, exclaiming, “it’s a rush,” before an extended trumpet interlude. This song is the thesis of the album, covering the lucidity, sadness, and importantly, joy that come with artistry.
Next, I want to highlight the duo of “Posing in Bondage” and “Posing for Cars.” Positioned in the middle and at the end of the album, this pair tells a larger story of intimacy gained and lost. “Posing for Bondage” is a short, wistful song about bondage and closeness. Whereas “Posing for Cars” is about loss and being left behind. These songs pair nicely together given their tonal similarities, as “Posing for Bondage” is a more dynamic version of the vocally driven “Posing for Cars.” These songs unpack the different forms of longing that comes with seeking out intimacy.
Finally, I want to highlight one of my favorite songs on the album, “Tactics.” The second-to-last song of the album, it reaches the greatest accord between lyric and music. This song is about choosing to separate, to make the distance between oneself and someone else. And the music encapsulates that feeling with Zauner’s voice lilting in the chorus as her voice holds each word length as if separating herself from us. I think this song highlights the balance Japanese Breakfast accomplishes in Jubilee, able to manage melancholic and nostalgic themes without letting one assert its dominance. The album shifts constantly, never staying too low or high so the listener doesn’t get too comfortable with one particular feeling.
I would say if you have wanted to listen to Japanese Breakfast, start with Jubilee. This album merits the praise of both me and the media for its vigor and ambition in exploring such polarizing emotions. And I would recommend, for those who might want to know more, reading Michelle Zauner’s memoir Crying in H-Mart as it illuminates much of Zauner’s personal experiences that translate directly into the writing of Jubilee.
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