by Kyla Sanchez ‘22

The date is October 4. After years of inactivity, the Twitter account @mitskileaks, the official information account of famed and supposedly retired indie musician Mitski, posts a single image of the artist’s back as she stands in a glossy elevator. The image contains white text across it reading, “mitski – October 5th, 2021. 10:00am ET. From there?” 

A social media explosion. Across Twitter and Instagram, hundreds of thousands of users go into a frenzy upon Mitski’s unexpected return. “I CAN’T BREATHE,” says one Twitter user. “SHAKING SCREAMING CRYING,” says another post with thousands of likes. 

Mitski, actually known as Mitski Miyawaki, only retired in 2019, yet the shock waves still coursing through the internet upon her return make it seem like she has been gone for a millennium. Even after her departure from the music scene, Mitski continued to be praised as an indie darling, with her hard-hitting and beautiful songwriting, gut-wrenching vocals, and unique performing abilities. Her new song was anticipated with much fanfare and celebration, but did it really live up to expectations?

The answer is an astounding yes. “Working for the Knife” explores the effects of the oppressive forces of modern life, in which the narrator contemplates their dissatisfied life “under the knife.” The knife stands as a metaphor for any crushing force. Whether that be capitalism, mental illness, or life itself, its meaning is left to interpretation. The interpretive aspect of the song makes its themes ring all the more true; each listener can understand where the narrator is coming from no matter who they are. By the end of the song, the narrator realizes that she is now “dying for the knife,” concluding on a depressing note that stays with the listener after the final synth chords buzz into nothingness. 

The unconventional structure of the song is also impressively constructed in the usual Mitski fashion. With no choruses and five similarly melodic verses, it creates a monotonous, chugging effect that reflects the narrator’s mindset and misery. The literal chugging production emphasizes this; bells and echoic beat claps loop throughout the song like machinery sounds, further contributing to the unsettling feeling of being controlled. Mitski’s vocals are also better than ever. Though many of the lines could seem overdone if sung by a weaker singer, Mitski’s voice sounds solid and melancholic on every line. 

Much of what makes this song so great is what makes Mitski so great: she just gets it. Across her discography, Mitski shows a level of vulnerability that is almost unmatchable. She sings of depression, assimilation, being abandoned, lonesome longing for hurtful lovers, and more. Mitski has seen it all, and she doesn’t shy away from it, which can be comforting for those dealing with similar issues. Mitski makes her audience feel heard. She is a validating force for thousands who are often alone in their troubles. Rising to new heights with her latest release, her future project is one to keep an eye out for.