Petals for Armor I - Hayley Williams

The news that Hayley Williams would be putting out solo music this year was a surprise, but a welcomed one. With the last Paramore album, After Laughter, being released in 2017, it felt time for some new music from the group. A solo release is an opportunity to explore who Williams is as a musician without her bandmates at her side (although Taylor York had his hand in producing and providing some additional instruments). The first taste the world got was the lead single, "Simmer", which made it clear that this was not Paramore. The song explores a dichotomy, between rage and mercy. It focuses on the difficulty of not giving into the every present rage that lies beneath the surface of our skin. Paramore had done some grittier, heavier songs before, but this felt like a very different type of edgy tone. It's all done over a very groovy instrumental, one that leans towards softer tones than alternative rock but is by no means pop. Despite the subject matter, it manages to feel very vulnerable - Williams is revealing a side of herself that we haven't heard before. The most obvious point of this is during the second verse, when Williams hits us with this set of lines:

"...and if my child needed protection

From a fucker like that man

I'd sooner gut him

'Cause nothing cuts like a mother"

I remember my eyes widening and my jaw dropping when I heard her swear. It's something she has never done in any of her recorded music, and something she doesn't do anywhere else in the EP.

One of the most striking things about this set of songs was the musical choices made. The instrumentations for the songs feel very fresh, organic, and original. There aren't as many elements, as many simultaneous layers in the song. Each element feels like it's hand-selected and put on display. They're not what I expected from my knowledge of Paramore. It feels like a true representation of Williams, a musical version of herself. Decisions like utilizing recordings of Williams breathing in the intro of "Simmer" or the layered melodies in the beginning of Cinnamon reinforce this notion. And lyrically, there's a lot to unpack in the words of this release. The vulnerability is most present in the lyrics; Williams laid herself bare with these tracks. Quite literally - there's a line in Cinnamon where she sings:

"Eat my breakfast in the nude Lemon water, living room.".

"Simmer" feels like the most lyrically-interesting track of the release. One of the lines from the chorus that I keep coming back to is:

"Oh, how to draw the line between wrath and mercy?"

It brought to mind a similar dilemma presented by Kendrick Lamar on his latest album, DAMN (which I have an even bigger appreciation for due to the Spotify podcast "Dissect" - check it out). He struggles between choosing Wickedness or Weakness, a pair of options that proves to be difficult to decide between. The Wrath versus Mercy choice feels similar in the difficulty to choose between, and the apparent deception about the ease of choice. Most people might say mercy, but wrath/hate is something often lurking beneath the surface, "lying in wait" and coming when it is least expected. I know how that can be the case for myself, especially when driving. I have a hard time not reacting in anger or frustration instead of compassion and mercy to other drivers on the road. Rage sometimes is a stronger instinct than mercy, which I believe is due to our sinful nature and separation from God and perfection. It's something we desire to control and put away, but soon come to realize how little control we have over without assistance.

Like I said - Simmer is very intriguing lyrically, still providing food for my thoughts two months after its release.

The EP leads with a strong introduction. The three song sequence of "Simmer", "Leave It Alone", and "Cinnamon" is compelling and reveals a wide range of ideas, sounds, and tones for the listener to process. The last song, "Sudden Desire" is interesting in terms of its lyrical content, which explores feelings of lust in a more explicit manner than listeners are used to from Williams. This is by no means a bad thing or indicative of something she shouldn't do - it's outside my expectations, at least. It took a few listens to digest the words, as I first gravitated towards the song for the sounds and gritty tones used. In light of the content - struggling with feelings of lust that you know you shouldn't feel - the way the song draws the listener in feels all the more intentional and ingenious.

The fourth song, "Creepin" feels a bit different, and less cohesive than the first three and "Sudden Desire". I find it harder to take seriously - it's not that it sounds like a joke song, but it has an almost comical quality to it. Taking a closer look at the lyrics and an interview with Williams, it's about someone who tries to feed off your energy, who seeks to take from you without giving. It makes it feel more substantial, gives me a better sense of the song, but I still have a hard time with enjoying this song as much as the others. I find I quite like the verses - it's got a dark, haunting sort of tone (which feels appropriate given the vampire theme) that I enjoy. The chorus doesn't quite vibe with me - and that's alright.

Overall, I enjoyed this taste of the William's solo material. The full release isn't due until May, but we seem to be about to get another tease in April with Petals For Armor II. (if I had been on top of things, this review would have come out in February instead of almost April but such is life). We've gotten one new song, but I'll save that for next time.