Maggie Lindemann comes out swinging with her debut album, ‘PARANOIA’
“Lindemann produces a fiery release that showcases the pop-punk princess inside her”
Maggie Lindemann has not been one to shy away from taking risks in her music and upholds this reputation on her debut album, entitled PARANOIA. Across eight tracks, Lindemann produces a fiery release that showcases the pop-punk princess inside her. Even though half of the songs were previously released as singles (and three of them being the first tracks), Lindemann still manages to keep listeners engaged throughout her dynamic body of work.
“Knife Under My Pillow” introduces the idea of paranoia while describing the anxiety she can feel while home alone. Loud drums and guitars add to the uneasiness and cymbals are used brilliantly in the background and almost mimics footsteps. Being someone who also gets paranoid about every creak when I’m by myself, I thought Lindemann did a great job describing “checking all the locks again” and ultimately going to sleep with a knife under her pillow to ward off any intruders. The anxiety doesn’t fade when entering “GASLIGHT!” a song she collaborated on with Siiickbrain. The heavy bass and low tones bleed into your ears as Siiickbrain screams the verses in her signature style.
“Scissorhands” has a heavy intro which leads into a surprisingly vulnerable song where Lindemann wonders if she’s capable of loving someone or will just ruin them. The juxtaposition between the production and the lyrics is what makes Lindemann a force to be reckoned with. Using shears snipping is a nice added touch that made this one of my favorites on the record. “Crash and Burn” is a pop-punk song to the core, with emphasis on the pop. By the end of the song, I was banging my head and shipping my hair back and forth as a way to channel the pure energy resonating in the song.
The second half of the album begins with the last single, “Loner,” where Lindemann starts to slow down and makes being alone sound cool again. “I’m always by myself ‘cause that feels right” she sings. “Love Songs” is a complete departure from the sound she previously established and ditches the drums for an acoustic guitar. It’s a song that’s exactly what it sounds like - a sweet tribute to a happy relationship where the signer feels whole.
The closing songs are a watered-down version of the opening tracks, but maintain the same level of vulnerability. Her vocals stay light and airy amongst the strong instrumentation on “Different.” Ending on a message of strength, “It’s Not Your Fault” brings the album to a close while calling back the style of the opening track (although the message is more hopeful). Lindemann shows growth by telling her partner a nicer version of “it’s not you, it’s me.” Overall, Lindemann’s debut album has been deserving of all the hype it’s received and shows a strong starting point for the 22-year-old.
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