Melanie Martinez, 24, recently released her second studio album titled K-12. This album succeeds her debut album, Crybaby, released in 2015. K-12 has been highly anticipated due to the accompanying motion picture film released for free on YouTube which incorporates the album throughout the plot. Martinez stars in the film, wearing the hat of director and song-writer, as well as having a direct hand in many other roles of the film-making process.
This review will not include a critic of the film itself, but will rather focus on the songs on the album. However, the film does assist the listener to interpret Martinez’s lyrics and provides an insight on her creative process, so I would recommend watching it after listening to the album.
1. Wheels On The Bus
When the opening tune of the childhood nursery rhyme “Wheels on the Bus” starts playing my immediate thought was that this song was going to be repetitive and slightly irritating, but the production of this song is so excellent, it completely saves it from going off-road (mind the pun). Martinez’s airy vocals and the slow-paced hook of the song gives it a nostalgic feeling. An important note to mention is that each song on this 13 track album is meant to represent each year through kindergarten to Year 12 (if it was not clear from the title). Martinez uses clever lyrical devices so that we as the listener can understand her point of view, without being too obvious- which is something that will appear a lot throughout this album. For example, -- I’m holding it down, up in the front --, signifies the nerves of starting a new stage of your life, but the more obvious meaning would simply indicate feeling car sick. Martinez showcases her skillful song-writing ability, which paired with the childish tone of the production makes this song a pleasant album introduction.
2. Class Fight
Sonically, this song is enjoyable. Martinez’s use of background noises such as school bells/boxing bells, kids talking on playgrounds all assist to add to the story that she’s trying to sell to us. The production of this song is complementary with the rest of the album, though does lack a strong hook. Overall, the underlying message of this song felt quite juvenile, so I guess it was appropriate that it was placed so early in the album. That being said, there are other songs placed early in this album with the same child-like, naive tone with a more mature theme.
This song seems to provide a story-telling link for the film, rather than providing a greater value to the album.
3. The Principal
One of the many things that I enjoyed about this track was the pacing. In the verses Martinez will transition from a quick-paced speak-singing to a more slow-paced melodic harmony which really adds a depth to this song that made it stand out from the tracks we’ve heard so far. In the hook her voice goes up in pitch, still incorporating the fluctuating pacing that keeps you engaged, and fuses that demonic-synthetic voice alter that Martinez almost trademarks. Where you find yourself asking for more, she delivers. What really impresses me in this track is the savvy way that she discusses American politics and other contentious issues in her lyrics without being obnoxious. -- F**k all of your rules and guidelines. You shouldn’t even be on the sidelines. -- Forget feel good songs, this is a light your fire anthem.
4. Show & Tell
There’s not too much to say about this song sonically, as the melody is pretty repetitive throughout the verses and hook, though immediately the tone of this song is clearly darker than the rest of the album so far. The key stand-outs come through in the production, with added sound-effects that provide a depth to the story-telling. The message in this track is simple; Martinez is fed up. I think this is a reminder to the general public that celebrities are people also, though they may be raised up to god-like status in the eyes of fans and the media, and to not expect things of them you wouldn’t be willing to give yourself. -- Harsh words if you don’t get a pic with me. -- It also seems to be a pointed sneer and the music industry, in which you’re often expected to compromise your integrity or ‘sell out’ to achieve your goals.
5. Nurse’s Office
This song has a similar intimation as Wheels on the Bus. The melody sounds vaguely like a nursery rhyme or a tune I would have sung in primary school, but I can’t quite seem to put my finger on the eerie familiarity of it.
Lyrically, the song sheds a tale of woe about bullying and the impact it can have on mental health. It’s not the most genius song-writing from Martinez in terms of complexity that we’ve seen so far, but she maintains her poetic inflect.
Overall, this song retains very little replay value, mostly due to the nasty coughing, sneezing, and gurgling noises heard throughout the track. If queasy was the timbre Martinez was striving for with this song, she hit the nail on the head.
6. Drama Club
Drama Club is one of the most noteworthy songs on this album, superbly delivering a strong statement. Upon my first listen, I had assumed that this track was targeting an individual/s that Martinez may have had a falling out with in the past; a clear message that she would be cutting ties. -- I never signed up for your drama club. -- After listening to this track a few more times, however, I came to the realisation that Martinez was actually making a statement beyond petty feuds, but rather calling out societal demands to adhere to gender roles. -- I don’t want to be an actress living by a script. -- The production of this song was outstanding also. In the line -- F**k your auditorium, I think it’s pretty boring and… -- her vocals have been altered to sound like she is standing in an auditorium. This track highlights the full dimensions of Martinez’s talent.
7. Strawberry Shortcake
Sonically, this song is one of my favourites. The production is so clean. It maintains a staccato off-beat bass-line over-layed with another nostalgic child-like tune. This track also uses background noises such as lockers slamming and bells ringing, however, unlike Nurse’s Office this doesn’t detract from the sound.
I commend the message that Martinez conveys in this song. -- Instead of making me feel bad for the body I got, just teach him to keep it in his pants and tell him to stop. -- Once again, we see that Martinez has used her lyrical ability to explore a heavy issue without being provoking. I found myself comparing this song to Taylor Swift’s The Man, as Swift receiving mixed reviews for the track, with some critics saying that because she was so blunt the message is ultimately undercooked and pithy.
While Martinez has a similar message, her unique delivery promotes the discourse this track desired.
8. Lunchbox Friends
More than halfway through the album, and the hits keep on coming! The beat accelerates as it reaches the hook, and Martinez’s voice changes as well, morphing from her light, wispy voice into a deeper synth that almost sounds like a completely different person. As the beat slows into the verse Martinez’s voice slowly transitions back to her normal pitch as well. This song might not be breaking any glass ceiling lyrically, but it will certainly make you feel great while you listen to it, and that’s one of the reasons it’s one of my top tracks from this album.
9. Orange Juice
Martinez tackles eating disorders in this track, giving the listener quite a visual. -- You turn oranges into orange juice. -- This is the first track so far on this album where Martinez’s songwriting has confused me. She has mixed metaphors with being extremely literal about the issue she is discussing. Lyrically, this song is quite inconsistent to the other tracks on this album. Sonically, the verses are again more of a backtrack to her plot, but the pre-chorus and hook is where the production is arresting. In this track Martinez has incorporated a strong piano melody, which mixed with the altered, deep-toned synth of her voice provides a full sound.
10. Detention
This track starts with a marimba or xylophone, again giving this album that youthful, playful feeling with Martinez’s eccentric charm. This is harmonised with an ethereal high-pitched harmony which leads us into the verse.
Lyrically, this song has similar undertones to Show & Tell, but rather than righteous indignation, the tonality we get from this track is a surrender.
Overall, it’s not my favourite track, though not the worst. This is mostly due to the fact that the tone of the song feels flat throughout; there’s not much variation, so it can drag on.
11. Teacher’s Pet
This track has another off-beat staccato pulse, and I do enjoy the production of this song. This song has a bit more mature, darker sound with a stronger element of synth added in. That being said, I can’t overlook the lyrical content; it’s a big yikes. Maybe it’s because I’ve never been exploited by a teacher, but I can’t really relate to this song. Sorry Melanie.
I’ll try and give her the benefit of the doubt and guess that this track is really about having an affair with an older man. -- I know I’m young, but my mind is well beyond my years. -- Ick factor aside, I have had this song stuck in my head for days, so clearly there is a palpable replay factor to this track.
12. High School Sweethearts
This track starts almost like a ballad, with just a quiet angelic synth and Martinez’s vocal harmonising. The song starts around one minute in, and the production of this actually gives me late 90’s- early 2000’s vibes. The hook incorporates an ensemble of violins which really rounds out the sound and emotion of this track. What I really love about this track more than anything is its character. Martinez has such a unique voice and perspective, and you can really see this in her one and only love song on the album, and the listener gets an opportunity to connect with some of these quirks.
13. Recess
I’ll be honest, at first, I did not like this song. However, after listening to it a couple of times I think I understand why I had such a negative first reaction. First of all, this is the only ballad on the album, so it sounds very different to every other track we have heard so far. This did make it an interesting choice to put it as the closing track, but for the continuity of the theme, having this as the senior song I can understand. Because it does sound so sonically different, it is hard to compare, though she retain some of those light timbre sounds we’ve heard throughout this album.
Lyrically, Martinez is referencing the attitudes of the music industry. -- People gonna say if you need a break someone will take your place. -- However, I think this is a theme that is relatable to any industry, and can also apply to burn out, which is something we are seeing being referenced every more frequently in a more high-paced digital age. This track may be more gradual in its delivery, but don’t sleep on it.
Overall, K-12 was a highly enjoyable album due to its unique sound and whimsy. Martinez is an accomplished song-writer and deserves high praise for the incredible quality of work that was produced in only her second studio album. I was particularly impressed by the cultivated themes and ideas consistently displayed in an enigmatic fashion throughout. While some songs had less replay value than others, all songs had sensational production and there’s little to fault with Martinez’s song writing ability. This is definitely an album I will continue to listen to, and recommend.
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