Review: Thoom "Everyday, Everything Is At Stake"
One of the most exciting pop releases in recent memory is the album Everyday, Everything Is At Stake from Beirut-born, L.A.-based rising star Thoom. Thoom makes stadium pop songs and just released her debut bilingual album with songs in English and Arabic to wide acclaim from fellow artists ranging from Arca to Kim Petras. I was instantly enamored with numerous elements of the work, from the hypnotic composition to the lyrics that continually kept me guessing to her distinctive vocals. The production style, infused with experimental hyperpop elements courtesy of Dylan Brady from 100 gecs, is likewise stellar. Thoom will be opening for Bassvictim on their White Flag tour. Half of the duo, Ike Clateman, also contributed to the production of the album. Balancing ecstatic pop songs, a melancholic search for a sense of homeliness, and beats that could fill an arena, Thoom continues to be a transcendent figure in the international pop scene.
The album opens with "Janani," an Arabic word which translates to "Mother." This track introduces one of the core unifying elements of Everyday, Everything Is At Stake, a pattern of spoken word verses with heavy beats and haunting, melodic choruses that becomes even more delightful when it is subverted.
At a time when censorship is a fear for new artists perhaps more than ever before, Thoom does not shy away from expressing her personal point of view as it relates to her search for a feeling of community and stability as an immigrant throughout the album.
The war on Lebanon is and has been devastating, yet the second track of the album, "Towards the Sky," is imbued with such a powerful, hopeful feeling. With references to internal and external warfare, metaphorical and literal weapons throughout the visual and sonic language, this album feels not only like a cathartic experience but also a form of resistance unto itself. If you were only going to watch one music video from this article, I would encourage you to choose this one.
The song feels like a mantra for manifestation. In keeping with this tone, Thoom reflects repeatedly on the idea of self-styling and playing a role in lyrics like:
"I'm gonna dress the part / I'm gonna make it physical. / I declare a state of war / Thеre’s only one place lеft to go"
The maximalist production works extremely well with the profound feeling of optimism and soaring vocals. While Thoom portrays herself as a renegade (check out her previous single "American Terrorist") and speaks of needing a miracle, the confidence that seeps through her gorgeous melodies convinces the listener that when Thoom inevitably makes it big, it will be through sheer force of will.
I was intrigued by the transition between "Towards the Sky" and "December Forever," from such an up-tempo song to a more relaxed, cold and introspective sound. Even for songs like this one, which may fit into nostalgic pop archetypes, there seems to be a consistent sense of restlessness, of expansiveness and volatility. It is perhaps no wonder that the music video portrays her navigating subway stations and riding on trains. Thoom wrote, recorded, and produced the album with her collaborators in different locations between the United States and Lebanon, adding to the rapid back-and-forth emotional twists and turns of the album. Each song demands the listener immerse themselves within her current headspace before wiping the scene away and changing the feeling entirely.
The bass on "December Forever" is subtle and ingenious alongside the uber-catchy chorus and verses. While the lyrics speak to a creeping depression and emotional guardedness that is unable to thaw, the pop melody is infectious and embodies a feeling of reckless abandon. It's no wonder that this was the first single to be released from the album, especially as it sonically reads like it would be right at home on the Billboard 100.
While the early-release singles captured my attention, the full album definitely does not disappoint. I love "Bulldozer" and "Adfil," yet perhaps my favorite track on the album is "On the Floor." "On The Floor" is the rare track that could absolutely crush in any venue, anywhere in the world, from the most intimate nightclub to the largest arena. While the song is sung in Arabic, the overwhelming hype it creates is universal and deeply craveable. I am not embarassed to admit that I harbor major jealously towards those who were able to experience it live at her album release party in LA.
The most clear Bassvictim influence is on "All My Friends are Complete Strangers." The title of this track evokes the sense of alienation throughout the work, and the intense vocal layering with minimal instrumental backing creates a sense of defamiliarization and uncanniness that only emphasizes the repeated refrain.
"Going Back to Lebanon," the final track on the album, starts off with a bang—literally.
A gunshot rings out before the lyrics "I have made decisions that I was to see / based off of the other girls that I want to be." This track is such a beautiful and bittersweet note to end on. With backing vocals by Frost Children, whom she has previously collaborated with, the song asks questions such as, "Did the summer end? / Is it war again? / Am I going back to Lebanon?" On this album, no particular song feels like a turning point between different personas: Thoom the pop star and her more personal voice. Each track is an attempt to integrate the two, yet it is impossible to say where she will go next in terms of her genre and style. Already, Thoom seems to be reflecting on the end of an era in the lyrics:
"I designed myself just for you / Now it's time to release you, -lease you / Blow a kiss to myself in the rearview / Shed a tear, need a tissue, tissue"
The only real prediction I can make: stay tuned because there is nothing that seems capable of stopping her meteoric rise.
What do you want to see covered in Enharmonic Magazine next? Let us know in the comments.
Comments