Holly Humberstone bids farewell to childhood in euphoric ‘Cruel World’
“Cruel World” departs from Humberstone’s introspective bedroom pop sound. From navigating feelings post-heartbreak to adapting to the real world, Humberstone’s new album is a gothic-centric backdrop to reality. Illustration by Emma Soto
Get the latest Syracuse news delivered right to your inbox.
Subscribe to our newsletter here.
“To love somebody / To hurt somebody / To lose somebody / Is to know you’re only human, honey,” indie pop artist Holly Humberstone sings.
As a longtime fan of Humberstone, her single “To Love Somebody” quickly became my most-played song of the new year after its Jan. 23 release. The intertwined feelings of love and loss perfectly described the transition into my second semester at Syracuse University, with the realization that my life back home was growing more distant every passing day.
The song was the second single off her sophomore studio album released last week; these lines from the chorus express the bittersweet solace integral to the album’s moody tone.
Humberstone released “Cruel World” Friday, a collection of 12 tracks that reveal the emotional maturity one must find in the wake of heartbreak. Containing introspective yet passionate lyrics, the album utilizes a more atmospheric sound through ‘80s synths and dark pop compared to the indie-rock style of her debut album.
The album dives deeper into feelings of nostalgia and young love that Humberstone experienced when departing from her childhood home. With an unwavering commitment to a haunting aesthetic, the album serves as an exploration of young adults acclimating to the real world.
The album begins with an instrumental prelude in the form of “So It Starts….” A swell of strings crescendoes in almost overwhelming fervor, with sparkles of piano that allude to the beauty found in chaos.
The rippling string rhythm is seamlessly taken over by a synth in “Make It All Better.” Humberstone sings of the fervent devotion one feels in the first stages of a relationship. Simple piano chords and a drum beat underscore an understated yearning to fulfill a partner’s needs.
“If you have a bad dream / I wanna make it all better,” Humberstone sings.
The end of the song embraces a funky electronic beat just in time for the powerful synth introduction of “To Love Somebody.” Expressing a relatable devotion, the song explodes into a display of accepting the risk that comes with love. Humberstone’s catchy vocals convey the grief found in a breakup, while discovering hope in the capacity to love.
The title track, “Cruel World,” contrasts the heavy synths with a larger focus on acoustics with percussion and guitar. Despite being more grounded in orchestration, an anguish for love creeps back amid the newfound loneliness in a society that values dependency.
The reminiscence turns desperate in “Die Happy.” Layered vocals and exhaustive synths culminate in the repeated line, “To die with you is to, to die happy.” This sets an ultimatum for a past lover; Humberstone comes to the conclusion that recklessly loving someone was both thrilling and fulfilling, even if it ended in disaster.
The moody tone of the album shifts to a more peppy one with “White Noise.” There is an air of sentimentality in the familiar synth introduction, but the smoother vocals create a more confident tone. This change in mood was needed, as the heavy synth tracks in the first half of the album could blur the lines between one song and the next. Humberstone embraces her independence and the reality of her growing up.
“Time to get real, girl / You’re not in his arms anymore / Oh, DJ, I just wanna sway tonight,” she says.
In “Lucy,” the lyrics adopt a hopeful perspective of believing in silver linings. There is a notable absence of synth, perhaps referring back to the blocking out of “white noise” in the previous song, with a focus on acoustic guitar providing authenticity and reassurance throughout the song.
The re-acceptance of love is explored in “Red Chevy,” where the car serves as a place to discover vulnerability in the initial stages of a new relationship. The introduction of saxophone in the middle of the bridge expresses the creation of a genuine romantic bond.
However, thoughts of an old lover persist in “Drunk Dialling.” The synth returns, growing more prevalent throughout the song with lyrics like “I thought about drivin’ to your house, ‘cause I don’t know what else to do.” Hope is a double-edged sword in both believing in an optimistic future and a reconnection with the past.
Keys take center stage in the piano ballad of “Peachy,” with a focus on Humberstone singing about the fear of being truly seen in a relationship. She fears falling in love again, and in the song “Blue Dream,” when her new lover displays vulnerability, she begins to trust their bond. The synth remains a sparkle in the background, carrying on the new guitar-heavy instrumentation.
The album ends with “Beauty Pageant,” a song honing in on Humberstone’s personal growth. In relation to both love and the music industry, Humberstone reminisces about how she has been seeking validation by conforming to expectations imposed on performers and women.
Gracefully backed by piano and a return of the strings from “So It Starts…,” she highlights the contrast between how she tries to present herself perfectly on stage versus how she desires authenticity in private.
“This is what you wanted, after all / Just don’t forget to have a ball / One day, I’ll make you love me / Come on and make me pretty.”
An energetic departure from her previous work, “Cruel World” shifts from Humberstone’s introspective bedroom pop sound into a more self-assured tone. Whilst leaning more heavily on an expansive sound, the emotional core of her songwriting persists, leaving the album as a testament of authentic vulnerability.
