Tabitha Wilson
Texas-born singer-songwriter, Maggie Lindemann, has recently released her highly anticipated debut album SUCKERPUNCH, with the record exploring themes such as toxicity, teen angst, and substance abuse.
The 24-year-old musician first gained a following by posting videos of herself singing to the now defunct social media platform Keek, and was discovered after her current manager, Gerald Tennison, came across a video she had posted to Instagram. Despite releasing a number of singles previously, SUCKERPUNCH is the artist’s first full-length project, with an impressive track listing featuring 15 original songs.
Opening Track
The opening track, ‘intro/welcome in’, sets the tone for the album. It starts slow, with a dreamy piano build mixed with slightly sinister undertones. The addition of brooding strings creates an orchestral feel, and an explosion of emotion towards the end of the tune crafts a euphoric, cinematic atmosphere. This song wouldn’t feel out of place on a fantasy film’s soundtrack – indeed, it’s an intriguing opener, leaving the listener curious and wanting more.
“reminiscent of early Paramore projects”
The end of the aforementioned first track showcases splenetic guitar riffs which transition straight into the second song, ‘take me nowhere’, creating a sense of cohesion throughout the project. This tune features evocative, exasperated lyricism, complimented by Lindemann’s powerful vocals. The track is a surly celebration of teen angst and is reminiscent of early Paramore projects – a band Lindemann has stated she has been inspired by.
An Early 2000s Feel
The fiery song, ‘break me!’ is similar, with the pop-punk tune starting off strong with an aggressive, yet driven, guitar instrumental. The vocal effects are interesting here, with some distortion applied throughout. Perhaps it would have been good to see more experimentation of this kind throughout the record.
The early 2000s feel is very evident, something also seen on ‘casualty of your dreams’.
“the lyricism is sincerely”
The track, which brings to mind early Evanescence tunes, has a moody opening, with heavy guitar riffs. The lyricism is sincere, with Lindemann’s genuine emotion being palpable throughout. The passionate bridge of this song is definitely a highlight of the record, with Lindemann’s vocal prowess creating a fantastic aural experience.
Chaotic and Controlled
Another dynamic tune comes in the form of ‘novocaine’. A scream at the start of this song sets the tone, with red-hot anger almost burning the listener’s ears. The intense, trap-inspired beat laces between assured vocals and the track, and feels both chaotic and controlled at the same time.
“intriguing gun-shot-inspired interjections”
‘You’re not special’ features angsty lyricism, similar to the previous tracks, yet has intriguing gun-shot-inspired interjections over a sustained guitar beat. However, the tune feels slightly repetitive at points, similar to the equally sulky ‘she knows it’, another single from the album.
Lindemann’s carefully crafted early 2000’s soundscape continues in the form of ‘phases’, with angry, apothegmatic lyricism. ‘Self-sabotage’ is similar, and also features some interesting electronic vocal effects. As previously mentioned, it would be nice to see the artist explore this use of vocal distortion throughout the project, and perhaps be a little more experimental with her sound. Lindemann clearly has the ability to do so, and could definitely have benefitted from having some more unique tracks on the album.
Some Softer Songs
Some of the softer, more introspective songs on the album, such as ‘I’m so lonely with you’, prove to be highlights, with reflective lyricism allowing fans to see a new side to Lindemann. The gorgeously melancholy ‘we never even dated’ is one of the best tracks on the album. It displays dreamy, hazy vocals, intertwining with a delicate guitar backing and lyricism that is intensely relatable for much of Lindemann’s target demographic. The album could definitely have benefitted from including more tunes like this one.
“has potential as a dance remix”
‘Girl next door’ also features subdued lyricism, but is made slightly formulaic and repetitive with the addition of bulky guitar riffs after the drop. Nonetheless, this track does have potential as a dance remix, and wouldn’t be out of place in a club.
‘How could you do this to me?’, featuring Kellin Quinn, presents an upbeat guitar instrumental at the start, and is reminiscent of Avril Lavigne tracks – another artist Lindemann has previously claimed to assert their influence. The compelling, overcharged feel of this track is echoed on ‘hear me out’, and this pop-punk aesthetic is continued in the closing song, ‘cages’, with more upbeat themes proving a satisfactory way to end the album.
On the whole, Maggie Lindemann has produced a very good debut album. Despite there being some flaws, such as the repetitive nature of some of the tracks and her seeming unwillingness to step outside her comfort zone, it is clear that the artist has the talent to produce some more distinctive work. Although it appears that she needs time to find her signature style, it is definitely worth keeping an eye out for more of Lindemann’s releases in the future.
Featured image courtesy of Magda Ehlers via Pexels. Image license found here. No changes have been made to this image.
Tabitha Wilson
Tabitha is an MA Journalism student at Sheffield University. She has previously worked as a maritime journalist, and studied politics at Durham University. She enjoys writing about music, culture, and travel.