HIT ME HARD AND SOFT - Billie Eilish (2024)

By LJ Henighan

In the lead-up to her third studio album, Billie Eilish commented on the project’s title, claiming that (while also being a fun reference to a synthesizer preset) it is “an impossible request… You can’t do anything hard and soft at the same time.” While this may be true, what is appealing about “HIT ME HARD AND SOFT” is how Eilish and brother/producer FINNEAS alternate between and blend the two, accomplishing a lyrically and sonically captivating balance.

This album is all killer, no filler. At ten tracks and 43 minutes long, it is only one minute longer than her first album, “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” which touts three more songs. This reduced track count gives each song time to develop without bloating the overall experience. Several songs contain one or more stylistic or tonal shifts, none of which feel unwarranted or jarring. These shifts seep the “hard/soft” balance of the overall album into individual songs and help smoothly transition between tracks. All ten songs sound unique and distinct from one another, yet complement each other rather than feeling like a compilation of unrelated songs. Everyone will undoubtedly have their favorites, but no one song is skippable.

HMHAS maintains balance across its production, with live strings and acoustic guitars blending beautifully with digital synthesizers. There is a fantastic mix of drum sounds, from crunchy and distorted to explosive and beefy. The same applies to bass, which is sometimes saturated and rubbery, other times booming and chest-rattling. “LUNCH” and “THE DINER” are particular treats to listen to for drums and bass. Like most of Eilish’s music, the mixing is incredibly immersive and bounces from ear to ear. On songs like “BITTERSUITE,” it feels like Eilish is singing right next to you. I suggest listening to the album once on headphones first to pick up on production and vocal intricacies, then on a good pair of speakers to feel the drums, bass, and synthesizers thump and rattle you.

This album contains some of Eilish’s most beautiful vocal performances and songwriting. Songs like “SKINNY” and “WILDFLOWER” place her gorgeous, haunting vocals at center stage. “THE GREATEST” has a well-crafted, dynamic build-up to a vocal and instrumental explosion. “L’AMOUR DE MA VIE” begins with Billie singing in a retro jazzy, Laufey-esque manner and transitions to autotuned hyperpop vocals in the second part (somehow even crazier than that description is how well it works). “LUNCH” and “CHIHIRO” are my picks for the catchiest melodies on the album and have been living rent-free in my head since my first listen. Themes of desire, obsession, heartbreak, insecurity, and sacrifice underscore the album’s mix of playful, captivating, and moving lyrics.

“HIT ME HARD AND SOFT” explores new sonic and lyrical palettes and avoids sounding worn or repetitive while showcasing an increased maturity in Eilish’s songwriting and composition. The album’s balance extends to its appeal. It’s all here: great production, instrumentation, vocal performance, songwriting, catchiness, and danceability. After the closer track, “BLUE,” I wonder the same thing as Eilish: “But when can I hear the next one?” Although knowing her and FINNEAS’s commitment to quality (and just because this album is so good), I am more than content, and I have a hard time imagining anyone wouldn’t be.  Favorite Tracks: LUNCH CHIHIRO L’AMOUR DE MA VIE (and the extended second part “OVER NOW”) THE DINER