Caroline Polachek’s “Pang” is just as impassioned today as its release, 5 years ago.
Caroline Polachek’s “Pang” is just as impassioned today as its release, 5 years ago.
With a rapid pulse and labored breath, alternative pop singer Caroline Polachek brought feeling back to life five years ago with “Pang.”
A voyage through chaos and tranquility, Polachek’s debut album “Pang” juxtaposes angelic serenity with high-spirited fervor in a refreshing spin on modern pop.
Polachek began her career in 2005 with synth-pop band Chairlift alongside multi-instrumentalists Aaron Pfenning and Patrick Wimberly. The band broke up in 2017, only for Polacheck to re-emerge solo in 2019 with the release of her pop album “Pang.”
The title refers to bouts of perplexing adrenal rushes Polachek experienced, referring to them as “pangs.” In an interview with The Guardian, she said she looked to recreate this feeling while working with producer Danny L Harle.
“The Gate” opens the album in a celestial echo chamber of operatic singing reminiscent of a solemn choir. The delicate composition highlights Polachek’s layered vocals, creating an ethereal effect.
Ditching placidity for passion, the album’s titular track follows a saga of ardent affairs and adrenaline. The playful, yet mild instrumentation mixes airy backing vocals and chirping bells.
“There’s a look in your eyes when you’re hungry for me / It’s a beautiful knife cutting right where the fear should be,” Polachek sings.
Illustrations of surreal scenarios boil over a brooding bass loop in “New Normal.” Polachek’s lyricism is rich in bewildering plotlines, each introducing a transformed reality. Fragments of twangy guitar reverberate alongside kitschy electronic noise, giving the track a peculiar quality that meshes well with its subject matter.
“Now, what is this? / Hollywood ghost town / A shootout scene / No actors at all,” Polachek sings.
“Hit Me Where It Hurts” is a study of Polachek’s pessimism. The lyrics describe a state of psychological captivity that diminishes her self-worth. Polachek’s vulnerability peaks with a bridge of impassioned wailing that simulates catharsis.
“I Give Up” recounts Polachek’s realization that chronically avoiding her partner is a sign to end their relationship. With a defeated sound in her voice, the chorus serves as Polachek’s resignation.
“It didn’t used to feel this good to be all alone / Doing every damn thing I can to not go home,” Polachek sings.
“Look At Me Now” is a message to Polachek’s now ex-lover. It comments on the pair drifting apart to the point where her ex could no longer look at her. Backing vocals sporadically erupt, building a sense of confidence in her decision to leave. This and “I Give Up” curate an experience that transcends the medium.
Dark, mystic synth hums breed a brooding presence on “Insomnia.” The choral nature of the music makes room for breathy trembles and boundless highs gliding between notes.
“Ocean of Tears” is invigorating pop at its core. Sharp, icy vocals flowing to the rhythm of fluid kicks are offset by dizzying syncopation. A siren-like post-chorus is the calm before the instrumental’s chaotic storm.
“Hey Big Eyes” and “Go As a Dream” showcase Polachek’s vocal acrobatics in two different ways. The former evokes a nostalgic, radio-like quality complimented by winding vocalizations.
The latter is a magical bedtime story — enchanting vocal flips sound similar to a cartoon princess humming a lullaby.
“Caroline Shut Up” is Polachek’s declaration of infatuation with an unknown person. The song combines verses brimming with raw energy with a poised, reflective chorus.
“Sometimes, I wonder / Do I love you too much? / Then I tell myself, Caroline, shut up,” Polachek sings.
“So Hot You’re Hurting My Feelings,” the album’s second-to-last single, achieved mainstream success following its release as a more palatable pop track compared to her other music.
An infectious melody steals the show on “Door.” A satisfying balance of ups and downs crescendos into a repetitive chorus marked by delayed echoes.
“Parachute” closes the album with soft synth and mechanical-sounding runs. The track is a fatalistic commentary on giving up and accepting her fate, whatever it may be.
“Pang” is a microcosm of human existence. In this portrait of shared experiences, Polachek embraces life’s oddities and pressures. Distinctive lyricism and honeyed vocals create a vibrant, lived-in atmosphere — one that is almost tangible.
“Pang” is available to stream on all major platforms.
Replay is a recurring music review column.
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