Write about the subject you usually blog about as if you were a music critic.
Source: Critical Eye
With the relative success of her debut album “Pathetic Ponderer”, Circe comes back with a more explicit title “Adulthood”, in which she bluntly addresses the absurdity of the strife to become the “proper adult” by her own experience being a young adult.
The title track “Enough” opens the album nicely with Circe enumerating things twenty-somethings should do to fit what the society accepts as being “adults”. Part of the verse when she goes “I know it’s not only the matter of age/But surely by now everybody does/I know it’s about responsibilities/But surely marriage and kids ain’t a rite of passage” was where she teased us listeners for the coming tracks “Responsibilities” and “Rite of Passage”. In both tracks she deeply questions the extent of responsibilities which entails adulthood, that relationships, tying the knot and having children should be seen as choices, and that before deciding to assume such big decisions, “contemplation should be what adults do, no? Oh Oh Oh”.
This time, Circe seemed to be more selective as she seemed to cut out fillers which she had on her previous album. Furthermore, if you think the three first tracks are too deep, you probably should stop, or prepare yourself before listening to the next ones. Following the inquiries she made in her songs in Pathetic Ponderer, “Hypothetical”, “Captive” and “Pace”, in this album she graced us with melodies called “Downers” and “Water Tube”. She voiced out her take on growing older, figuring out individual aspirations are not as appreciated as it might seem in life coaching sessions or high school dramas. Specifically in “Water Tube”, she implores the feeling of betrayal some of us might get once we get out of school, as it does not, in all actuality, prepare us at least “float” when entering the so-called “real life” as the society has pointlessly promoted for years. Not only did she dismiss the stereotype against indie singers by displaying her husky yet clear, soothing voice, she brought up the the core problem of the course to adulthood (or conflicts and transitions in life generally) in “Expectations”. She tried making sense of whether it is the constructed expectations or the people who universally constituted and dispersed it as a norm which or who has the bigger power to dynamically adapt to the “acquired wisdom through ti-i-ime”, to which she disagree to simply succumb to the popular belief that it is a “chicken or egg problem”. Fairly enough, how did the creator become inferior to the creation?
She concluded the album, as well as the subject of scrutiny as hinted in the title, with another question with the song “Happy”, in which she expressed her worry of being diluted with the premise of being the adult the society wants her and anyone her age to be, “a world where fun is rare/Niceties are staged/And people insist that’s how it’s supposed to be”. “How is one to measure life/how to measure happiness/if one wants to be/if one wants to be” is the very food for thought, only to be defined personally in this weird world where people are attracted to the majority, ironically struggling to be similar instead.
Albeit her concerns of expectations surrounding maturity and her coping with it, Circe once again embarked with her deep thoughts, evidently growing up in her music with “Adulthood”. While that might suck for most, this album certainly does not disappoint.