Album Review: MUNA’s Self-Titled Album is an Ode to Independence

Their first album with Saddest Factory Records, MUNA’s self-titled record hits all its marks. The trio explores different genres and sounds in a diverse collection of songs, each with more self-assured and brutally honest lyrics than the last.

Written by Miranda Garza

Photo courtesy of Issac Schneider

If all good things take time, MUNA was well overdue.

The trio, consisting of lead singer and songwriter Katie Gavin alongside guitarists and producers Naomi McPherson and Josette Maskin, formed in 2013. Following their self-released 2014 EP, More Perfect, the band signed with and released two albums under RCA Records. Their debut album, About U, established a synthy, alternative dark-pop sound, while their sophomore album, Saves the World, showcased sonic versatility with subtle electronic and country influences in tracks like “Number One Fan” and “Taken.”

Although the first two records came with critical success, RCA dropped the trio in 2020 for “not making enough money.” Luckily for MUNA fans around the world, Saddest Factory Records — an independent record label run by singer-songwriter and friend of the group Phoebe Bridgers — picked the band up the following year.

For MUNA, a new record label also came with a newfound sense of liberation that radiates undeniably from its latest release, both lyrically and sonically. “It’s a more indie record than Saves the World, in a sense that we really did it on our own,” Gavin told Vice. ”There’s nobody telling us what to do now.” 

The self-titled album opens with its lead single, “Silk Chiffon,” featuring none other than Bridgers. The bubblegum pop track carries a cheery melody with lighthearted lyrics that spotlight queer romance: “Life’s so fun, life’s so fun / Don’t need to worry about no one / She said that I got her if I want / She’s so soft like silk chiffon.” Although all three members identify as queer — and McPherson as nonbinary, specifically — the group always made a habit of keeping their lyrics gender-neutral, until now. Since its release, the track has garnered over 25 million streams on Spotify, and has made MUNA an alternative radio-play regular. 

Sonically, MUNA’s new album is a melting pot of genres and influences. Second to “Silk Chiffon” is powerhouse track “What I Want,” which features bold ultrapop bass-filled beats and vibrant synth notes. Self-assurance is evident in Gavin’s voice as she unapologetically belts: “I want the full effects / I want to hit it hard / I want to dance in the middle of a gay bar.” In “Runner’s High,” the intensity of which makes the song live up to its name, Gavin’s once-soft vocals steadily grow higher to match the instrumentals’ high frequency as she compares the freedom of moving on from a past relationship to a “runner’s high.” Each chorus ends with an explosion of sharp ‘80s-inspired electronic beats and crashes, giving the track an almost cinematic effect. The unique electronic composition and precise pacing of “Runner’s High” makes it unlike any other project in the trio’s discography and offers a glimpse into MUNA’s experimentation with its sound.

Image courtesy of Saddest Factory Records

However, most reminiscent of the trio’s earlier sound is the album’s fourth track and final single, “Home By Now.” Gavin’s velvety low vocals waver alongside synthy-pop melodies as she regretfully ponders: “Would we have turned a corner if I had waited? / Do I need to lower my expectations? / If we’d kept heading the same direction / Would we be home by now?” The band does a sonic 180 with “Kind of Girl,” an emotional acoustic gem with country-esque strums and an arrangement of captivating violins. Unlike the contrite lines in “Home By Now,” the lyrics in “Kind of Girl” are sympathetic and reflect Gavin’s openness to self-improvement: “Yeah, I like telling stories / But I don’t like to write them in ink / I could still change the end / At least I’m the kind of girl / I’m the kind of girl who thinks I can.”

As expected, MUNA’s genre-bending doesn’t stop at odes to electro-pop. The record’s fifth track, “Handle Me,” is a moody vignette led by sensual guitar strums, as Gavin’s lush vocals effortlessly blend into the track’s airy instrumentals. The pace picks back up for the fearless “No Idea,” which encapsulates funk melodies  through catchy instrumentals. Co-written with Mitski, the track’s sultry lyrics chronicle a budding relationship where the narrator’s inner thoughts contrast those assumed by their partner: “You have no idea / The things I think about you when you aren’t here.” After follows “Solid,” a striking synth-rock dance track with uplifting background vocals. The last of this cluster of upbeat tracks is the album’s second single, “Anything But Me.” The twangy anthem of independence sets itself apart with an electric country-fused melody and a persistent snare drum.

Although most of their self-titled effort relishes in the concept of freedom, “Loose Garment” is a candid take on the aftershocks of a failed relationship. A subtle techno melody melts into soft layers of plucky guitar strings and distant violins, letting listeners know to get their tissues ready. Gavin’s wistful vocals effortlessly blend into the string arrangement as she poignantly sings, “Used to wear my sadness like a choker / Yeah, it had me by the throat / Tonight I feel I’m draped in it, like a loose garment / I just let it flow.” While “Loose Garment” is about moving on, the album’s final track “Shooting Star” is about letting go. The instrumentation meshes seamlessly with atmospheric melodies, but the heart of the track lies within its lyrics, where Gavin poignantly decides to set her lover free to allow them to flourish: “And tonight when I closed the door / I wanted to turn back / But when I see a shooting star / I stay out of its path / And that’s what you are.” Sonically, the song builds with each verse, adding layers of heavy drums and resounding guitars until an apex of instruments brings a cathartic close to the record.

Despite their gradual claim to fame, MUNA’s ambitious, experimental sound and honest lyrics make them a standout among mainstream artists. Their reluctance to stay confined to one specific genre has showcased their sonic range and courage to explore new sounds. MUNA will become a milestone in the trio’s discography, not only as the band’s first album under Saddest Factory Records, but as an album that took all the right risks for a band’s second coming.