Musically, ‘Felicity’ is the breakaway track. It is the only song which was not originally written on acoustic guitar. Instead, Miya wrote it in collaboration with Jared Solomon (Remi Wolf, Lola Young), and layered synths and woodwinds atop of traditional instrumentation. The song points to the lesser-known definition of the word felicity: “finding appropriate expression for one’s thoughts,” which, Miya says, is “a cornerstone of the album: putting language to how I feel, which I didn’t do for so long because I didn’t know it was a feeling I was allowed to have.” Apt articulation, ‘Felicity’ suggests, promises to bring us into closer connection with those we love, and with ourselves.

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Inspired by the line “desire is a buffalo standing on my chest” from the poem Dear Sal by Jeremy Radin, Miya uses her signature confessional lyrics to transform desire into a huge, cold, heavy block of ice weighing on someone.

“The song is me exploring the weight of my fear of losing my relationship, but also finding comfort in the fact that if I did, things would be okay.” Folick explains. “The line ‘I could lose you’ is a double entendre. When we translated it into Japanese for the cover art, we used the verb for ‘I am able to” and the verb for ‘It is possible [to lose you].’ This song is both a coming to terms with how much my relationship matters to me, and how much I value my relationship to myself. I would be so sad if I lost this person in my life, but it would be equally as sad if I lost myself.”

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The ’90s alt-rock revivalist track delves into themes of identity and desire, capturing Miya’s honest self as she explores the tension between her romantic reality and her innermost yearnings.

Miya adds, “I wrote ‘La Da Da’ in a period when I was actively pulling away from a pace of life that didn’t suit me. I was slowing down, saying no, responding when I actually had an answer, and asking for the things I specifically desired rather than the things I thought I was supposed to want. I was turning things in late and taking my time to get them right.”

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“I love this song and I am addicted to it,” Folick says. “I wrote the melody and lyrics for ‘Cockroach’ driving home from a friend’s house. It was May 2021, and I was feeling like I had spent the last couple years continuously dragging myself back up onto my feet after getting knocked around by life and circumstances out of my control (I think others may be able to relate). I got home and quickly made a demo of the melody with the keyboard parts and the guitar line. I thought it would be an interesting interlude or intro for the record, but it became something so much more powerful. I asked Sam KS to play some simple drums on it and he ended up playing this in one take, transforming the song into something that feels anthemic in its own odd way.”

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“‘So Clear’ is about pulling yourself out of the wreckage you’ve made of your own life again and again, for the thousands of days we live on this earth and realizing life is so much more expansive than the petty concerns we waste precious time on,” Folick says. “An epiphany that I have over and over again is that I am very small, but my actions are very meaningful. So I have to choose to live truthfully every day. It’s not easy! The song is very dramatic, and I imagined it as a good karaoke song when we were making it.”

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“‘Mommy is maybe the most intimate song on my record,” Folick says. “It’s about heritage, memory, and family. I think there’s an ache in the song that exposes the gap between my limited understanding of my parents and the full richness of their lives. The first time I played this song live was at The Echo in Los Angeles, and my mom showed up—not joking—with a jar of honey for me, to soothe my throat (you’ll understand this anecdote when you listen to the song).”

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“The day I wrote this song, I woke up with a first-class, absolutely soul crushing hangover, after having slept for a couple fretful hours,” Folick says. “I wasn’t the kind of person who could hide a hangover, so I told Mitski and Andrew what was going on. We wrote this song. It’s about being stuck in a cycle of behavior that you can’t get out of, but it’s not bleak. There’s hope in the song. I always knew that I would get out of that cycle eventually.”

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“This song is about slowing down, looking inward, taking time with the people you love,” says Folick. “Things don’t have to be a party or a spectacle. They don’t have to be special to feel special. Rather than finding joy in rushing into things, I’m finding joy in patience, in quiet, in getting to know somebody slowly.”

“When I first heard ‘Ordinary,’ I felt moved by its sweet melody and the direct and simple sentiment of the lyrics,” says Margaret. “The piano parts effortlessly flowed soon after my friend (Miya) asked me to lend my part. It was fun and made me feel something.”

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“‘Oh God’ is that moment of sudden remorse/panic/fear: when you put your palm to your forehead and wonder what you have done with your life,” says Folick. “You know that something needs to change, and for the first time, you’re willing to try anything.”

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