The Mitski Discography Rate | winner revealed
- Thread starter fatyoshi
- Start date
He/Him
Yeah when she explained that about Geyser it really was an eye opener tbh. Songs like Happy, Pink in the Night, even Your Best American Girl really take an insightful look into how she perceives herself as a musician and her relationship with music. But like you said, let's save that for (much) later!
Another?
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#54 - Ego (M. Roosevelt & Mitski)
7.242
High scores: 9.5 (@Phonetics Girl), 9 (@constantino, @Cutlery)
Low scores: 5.5 (@Remorque, @LE0Night), 6 (insolentire, @Coochi, @Trinu 3.0, @Euphoria, @ohnostalgia)
fatyoshi's score: 7
Leaderboard trajectory:
5 voters - #29
10 voters - #39 (-10)
Final placement - #54 (-15)
These extras or non-main album/era tracks just cannot catch a break. Our second section sees elimination in full as Ego drops out at number 54. This one actually fared pretty well early in, peaking at #29 with the first set of voters before it progressively fell to where it is now.
As the only original track on the release, it's naturally the one that saw songwriting input from Mitski beyond vocal contributions. The end result gave us some noisy/chaotic instrumentation (the full entrance of the instruments in unison is a bit of a moment, I must admit) with Mitski serving vocals to meet it. It can all be a bit of a racket at times which makes me especially surprised this outlasted Nightcall which had the potential as both something one might have already known previously in addition to the more accessible sound. This wasn't the first (and it sure won't be the last time) I was thrown off by some of these results so I should have known better.
In hindsight I maybe would've given this an 8 instead of my 7 but we haven't gotten into many big losses for me personally yet. A lot of these 6s, 7s, or even 8s that I gave out at a glance are kinda like "I underscored by 2 points..." but there's gotta be some variance in there lest my averages ended up being straight 10s with no impact on actual leaderboard placement. All of my actual lowest scores are gone already (a few 5s) but I wouldn't mind seeing some of the next lowest ones leave too. We'll have to see.
In terms of general reaction among everyone else beyond me, this seems to be the most positively viewed track as a collective so far in the rate. Not just because it placed here/higher than the rest obviously dddddd but it also was the first to not see a score below a 5 with the lowest being two 5.5s. Not too bad.
We got two bits of commentary this time:
Remorque (5.5) - "Somewhere the foundations for a good song are there, but the whole production kind of lets it down. It sounds as if it was recorded in Mitski's garage and she sounds muffled all the way through to the point I can't understand a word of what she's singing…"
constantino (9) - "What a discovery! She snapped on this."
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Give me some time to get together a stats post for the M. Roosevelt & Mitski EP.
Tomorrow we lose an album track.
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#54 - Ego (M. Roosevelt & Mitski)
7.242
High scores: 9.5 (@Phonetics Girl), 9 (@constantino, @Cutlery)
Low scores: 5.5 (@Remorque, @LE0Night), 6 (insolentire, @Coochi, @Trinu 3.0, @Euphoria, @ohnostalgia)
fatyoshi's score: 7
Leaderboard trajectory:
5 voters - #29
10 voters - #39 (-10)
Final placement - #54 (-15)
These extras or non-main album/era tracks just cannot catch a break. Our second section sees elimination in full as Ego drops out at number 54. This one actually fared pretty well early in, peaking at #29 with the first set of voters before it progressively fell to where it is now.
As the only original track on the release, it's naturally the one that saw songwriting input from Mitski beyond vocal contributions. The end result gave us some noisy/chaotic instrumentation (the full entrance of the instruments in unison is a bit of a moment, I must admit) with Mitski serving vocals to meet it. It can all be a bit of a racket at times which makes me especially surprised this outlasted Nightcall which had the potential as both something one might have already known previously in addition to the more accessible sound. This wasn't the first (and it sure won't be the last time) I was thrown off by some of these results so I should have known better.
In hindsight I maybe would've given this an 8 instead of my 7 but we haven't gotten into many big losses for me personally yet. A lot of these 6s, 7s, or even 8s that I gave out at a glance are kinda like "I underscored by 2 points..." but there's gotta be some variance in there lest my averages ended up being straight 10s with no impact on actual leaderboard placement. All of my actual lowest scores are gone already (a few 5s) but I wouldn't mind seeing some of the next lowest ones leave too. We'll have to see.
In terms of general reaction among everyone else beyond me, this seems to be the most positively viewed track as a collective so far in the rate. Not just because it placed here/higher than the rest obviously dddddd but it also was the first to not see a score below a 5 with the lowest being two 5.5s. Not too bad.
We got two bits of commentary this time:
Remorque (5.5) - "Somewhere the foundations for a good song are there, but the whole production kind of lets it down. It sounds as if it was recorded in Mitski's garage and she sounds muffled all the way through to the point I can't understand a word of what she's singing…"
constantino (9) - "What a discovery! She snapped on this."
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Give me some time to get together a stats post for the M. Roosevelt & Mitski EP.
Tomorrow we lose an album track.
M. Roosevelt & Mitski
7.222
#54 - Ego - 7.242
#56 - Nightcall - 7.203
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High scorers:
@Phonetics Girl - 9.75
@constantino - 9
@Cutlery, @Crisp X, @pop3blow2 - 8.5
Low scorers:
@Coochi - 5
@Euphoria, @LE0Night, @ohnostalgia - 5.5
@Remorque - 5.75
fatyoshi's average: 7.5
Individual averages:
Phonetics Girl - 9.75
constantino - 9
Cutlery - 8.5
Crisp X - 8.5
pop3blow2 - 8.5
DinahLee - 8
aux - 8
Doenjang - 7.75
fatyoshi - 7.5
Trinu 3.0 - 7.5
Serg. - 7.5
finito - 7.25
insolentire - 7.206
Remorque - 5.75
Euphoria - 5.5
LE0Night - 5.5
ohnostalgia 5.5
Coochi - 5
constantino - 9
Cutlery - 8.5
Crisp X - 8.5
pop3blow2 - 8.5
DinahLee - 8
aux - 8
Doenjang - 7.75
fatyoshi - 7.5
Trinu 3.0 - 7.5
Serg. - 7.5
finito - 7.25
insolentire - 7.206
Remorque - 5.75
Euphoria - 5.5
LE0Night - 5.5
ohnostalgia 5.5
Coochi - 5
this evening we are craving tenderness
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(leaked image of our host looking at the spreadsheet because y'all are fucked up)
#53 - I Want You
7.258
High scores: 10 (me), 9.5 (@Trinu 3.0)
Low scores: 5 (@Phonetics Girl, @Coochi, @Euphoria), 6.5 (@Cutlery)
fatyoshi's score: 10
Leaderboard trajectory:
5 voters - #50
10 voters - #57 (-7)
Final placement - #53 (+4)
It's time for Retired from Sad, New Career in Business to lose its first track. Not necessarily the right one if you ask me (the Tik Tok song is right there xx) but what can I say.
I Want You is the sixth track on Mitski's second album. Not too far from what we've been working with in terms of Mitski's earlier material, this differentiates itself a bit by not featuring as much of a complex instrumentation with both the composition and variety of instruments used. On an album of more... theatrical moments, it can be a breath of fresh air (at least for me dddddd).
There's definitely a bit of meat to this one in terms of room for interpretation or viewing in context of her discography at large. I've always seen this track as an acknowledgement of the difference between wanting or truly needing a person or thing. The song starting and ending with "I want you" in contrast to the use of "I love you" in the center almost feels like realizing and accepting that your desire for something overpowers the need you thought you felt. (Like me thinking about whether I really Need the chips and salsa I'm about to eat. It isn't gonna make a difference but self reflection is important.) Whether one reads that as a good or bad thing probably depends on you and what kind of person you are in terms of positivity but that's what I get from it at least ddddd. I'd love to start hearing some other interpretations now that we're getting into the actual tracks people seem to care about at large so I'm not just sharing my brainworms into the void xx.
There's even a potential reference to Door if you want to do some reaching with
"I found you
I found the door
But when I stepped through
There was no floor"
I Want You is a bit unique in terms of material from this album and Lush in that it saw some regular representation in live sets/performances with appearances during each era from Bury Me at Makeout Creek and on. Beyond this, the track also saw a cover from extras section group M. Roosevelt. Mercifully, this was left out of the rate as the exclusively male vocals would've all but ensured a last place finish. Add in the music video (part of the series of visuals for the album in full that was released along with the album) and that's more to talk about than nearly everything else we've eliminated so far. Let me celebrate that.
We had no commentary for this one and the leaderboard trajectory was more of the same for this period of the rate so let me not run my mouth any longer. I'll leave us with a performance, the music video, and the M. Roosevelt cover for now.
I'll see y'all for the last elimination of the week tomorrow. What do you want to see leave next?
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(leaked image of our host looking at the spreadsheet because y'all are fucked up)
#53 - I Want You
7.258
High scores: 10 (me), 9.5 (@Trinu 3.0)
Low scores: 5 (@Phonetics Girl, @Coochi, @Euphoria), 6.5 (@Cutlery)
fatyoshi's score: 10
Leaderboard trajectory:
5 voters - #50
10 voters - #57 (-7)
Final placement - #53 (+4)
It's time for Retired from Sad, New Career in Business to lose its first track. Not necessarily the right one if you ask me (the Tik Tok song is right there xx) but what can I say.
I Want You is the sixth track on Mitski's second album. Not too far from what we've been working with in terms of Mitski's earlier material, this differentiates itself a bit by not featuring as much of a complex instrumentation with both the composition and variety of instruments used. On an album of more... theatrical moments, it can be a breath of fresh air (at least for me dddddd).
There's definitely a bit of meat to this one in terms of room for interpretation or viewing in context of her discography at large. I've always seen this track as an acknowledgement of the difference between wanting or truly needing a person or thing. The song starting and ending with "I want you" in contrast to the use of "I love you" in the center almost feels like realizing and accepting that your desire for something overpowers the need you thought you felt. (Like me thinking about whether I really Need the chips and salsa I'm about to eat. It isn't gonna make a difference but self reflection is important.) Whether one reads that as a good or bad thing probably depends on you and what kind of person you are in terms of positivity but that's what I get from it at least ddddd. I'd love to start hearing some other interpretations now that we're getting into the actual tracks people seem to care about at large so I'm not just sharing my brainworms into the void xx.
There's even a potential reference to Door if you want to do some reaching with
"I found you
I found the door
But when I stepped through
There was no floor"
I Want You is a bit unique in terms of material from this album and Lush in that it saw some regular representation in live sets/performances with appearances during each era from Bury Me at Makeout Creek and on. Beyond this, the track also saw a cover from extras section group M. Roosevelt. Mercifully, this was left out of the rate as the exclusively male vocals would've all but ensured a last place finish. Add in the music video (part of the series of visuals for the album in full that was released along with the album) and that's more to talk about than nearly everything else we've eliminated so far. Let me celebrate that.
We had no commentary for this one and the leaderboard trajectory was more of the same for this period of the rate so let me not run my mouth any longer. I'll leave us with a performance, the music video, and the M. Roosevelt cover for now.
I'll see y'all for the last elimination of the week tomorrow. What do you want to see leave next?
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He/Him
Literally the worst song of her career. I support the immediate execution of Strawberry Blond
hi
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#52 - Circle
7.306
High scores: 10 (@pop3blow2), 9 (me, @Crisp X, @Trinu 3.0, @LE0Night)
Low scores: 5 (insolentire, @Euphoria, @finito), 6 (@Phonetics Girl, @constantino, @Serg.)
fatyoshi's score: 9
Leaderboard trajectory:
5 voters - #57
10 voters - #51 (+6)
Final placement - #52 (-1)
Sticking with Retired from Sad, New Career in Business for at least one more elimination, we now move on to Circle. Originally stalling out at #57 this moved as high as #51 before settling here. The elimination order for this album so far isn't going so well for me dddddd.
This kinda makes for an interesting elimination next to I Want You. Depending on how you get into them they can kinda make a "Realizing Things" pair. While the other track sees Mitski ruminating on want vs need, this one sees things from the perspective of a person who is possibly less invested in a relationship than their partner. Not only is this a bit of a unique viewpoint in Mitski's discography (and some music in general) but it also follows through on the songs own title. By starting and ending the track with the line "There's a lie I told to you", we're perhaps getting into how certain behaviors can Circle (stab me) around or be a cycle.
Beyond this, we once again see Mitski referencing her other material. Bag of Bones, one of the lingering Lush tracks describes her body as a "bag of bones" in response to the gaze of others while this song has the line "and the businessman saw my bones". Taylor Swift and her easter eggs are shaking.
While doing some of these early album eliminations it has sunk in that Retired and Lush both have this sense of scathing self reflection that can be harsh to listen to. I'm not sure how to put it exactly and her discography isn't a walk in the park emotionally or in terms of subject matter obviously but there's definitely a bit of a different feel to it here vs on Puberty 2 or whatever. Maybe this is why it has taken so long for some of the earliest tracks to start to click with me more.
I'm pretty disappointed this is gone so soon. I know songs need to leave at some point and it's gonna be like this from here on out, especially with most of the obvious extras being gone but I still have some sore spots lingering. Things sting here in particular as this is one of the tracks on Retired where I feel like the strings work in favor of the track and don't detract from their surroundings.
There's no commentary to share for this one and it was never performed live so I'll leave us with the visual.
I'll see y'all Monday for another elimination. Have a good weekend <3
Oh, by the way...
Our next two eliminations share the same average, number of 10s, and lack of 11s. As a result, I'll be eliminating them in order based by my own scores (they'll share a spot/placement regardless).
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#52 - Circle
7.306
High scores: 10 (@pop3blow2), 9 (me, @Crisp X, @Trinu 3.0, @LE0Night)
Low scores: 5 (insolentire, @Euphoria, @finito), 6 (@Phonetics Girl, @constantino, @Serg.)
fatyoshi's score: 9
Leaderboard trajectory:
5 voters - #57
10 voters - #51 (+6)
Final placement - #52 (-1)
Sticking with Retired from Sad, New Career in Business for at least one more elimination, we now move on to Circle. Originally stalling out at #57 this moved as high as #51 before settling here. The elimination order for this album so far isn't going so well for me dddddd.
This kinda makes for an interesting elimination next to I Want You. Depending on how you get into them they can kinda make a "Realizing Things" pair. While the other track sees Mitski ruminating on want vs need, this one sees things from the perspective of a person who is possibly less invested in a relationship than their partner. Not only is this a bit of a unique viewpoint in Mitski's discography (and some music in general) but it also follows through on the songs own title. By starting and ending the track with the line "There's a lie I told to you", we're perhaps getting into how certain behaviors can Circle (stab me) around or be a cycle.
Beyond this, we once again see Mitski referencing her other material. Bag of Bones, one of the lingering Lush tracks describes her body as a "bag of bones" in response to the gaze of others while this song has the line "and the businessman saw my bones". Taylor Swift and her easter eggs are shaking.
While doing some of these early album eliminations it has sunk in that Retired and Lush both have this sense of scathing self reflection that can be harsh to listen to. I'm not sure how to put it exactly and her discography isn't a walk in the park emotionally or in terms of subject matter obviously but there's definitely a bit of a different feel to it here vs on Puberty 2 or whatever. Maybe this is why it has taken so long for some of the earliest tracks to start to click with me more.
I'm pretty disappointed this is gone so soon. I know songs need to leave at some point and it's gonna be like this from here on out, especially with most of the obvious extras being gone but I still have some sore spots lingering. Things sting here in particular as this is one of the tracks on Retired where I feel like the strings work in favor of the track and don't detract from their surroundings.
There's no commentary to share for this one and it was never performed live so I'll leave us with the visual.
I'll see y'all Monday for another elimination. Have a good weekend <3
Oh, by the way...
Our next two eliminations share the same average, number of 10s, and lack of 11s. As a result, I'll be eliminating them in order based by my own scores (they'll share a spot/placement regardless).
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Let's get to our first of two tracks with the same average. As previously mentioned, both have the same number of 10s and no 11s so I'll just do the one I gave a lower score first.
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(artwork for this track and every other future Bury Me at Makeout Creek elimination were made by graphic design guru underrealized on Tumblr.)
#50 (Tie) - Jobless Monday
7.319
High scores: 10 (@pop3blow2), 9 (@Phonetics Girl, @DinahLee)
Low scores: 5 (@Serg.), 5.5 (@Trinu 3.0)
fatyoshi's score: 7
Leaderboard trajectory:
5 voters - #42
10 voters - #41 (+1)
Final placement - #50 (-9)
Our next track saw a bit of a drop in the last set of voters after having done a bit better for most of the run up to the rate. Still, it was never enough to be anything other than the bottom ranking track for its respective album era throughout the voting period. Farewell to Jobless Monday which is also the first of the Bury Me at Makeout Creek tracks to go.
Jobless Monday is an interesting one for me. It isn't a favorite (as seen by my score) but I've come to see it as an essential part of the album it comes from, even if it's probably my least favorite of the tracks. Bury Me at Makeout Creek is an album of thunderous highs and lows emotionally but Jobless Monday is the one that really captures the center that can linger between said extremes. If say, Drunk Walk Home is a cathartic come down from a night out whereas I Don't Smoke is a severe low point, Jobless Monday serves the lethargic day to day moments that come between. I personally find it all really affecting and am a bit sad that I don't like the song more ddddd.
In terms of the music and composition this is pretty par for the course with the rest of Bury Me at Makeout Creek. It's one of the more subdued tracks even if there's still a level of fuzziness to it. Chaotic moments are pretty much left to the piano key smashing at the very end (before transitioning into Drunk Walk Home) with the rest of the track serving the previously mentioned lethargy. In a way this feels like a drained counterpart to My Body's Made of Crushed Little Stars.
This is one of the two tracks from Bury Me that never saw live performances and there's no commentary (seems fitting with the leaderboard placement/general reception, perhaps) so I don't have anything to get into with supplemental material. Bury Me at Makeout Creek is only 30 minutes long so stream it once, stream it twice today!
I'll be back to eliminate the second part of our tie, tomorrow. See you then xx
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(artwork for this track and every other future Bury Me at Makeout Creek elimination were made by graphic design guru underrealized on Tumblr.)
#50 (Tie) - Jobless Monday
7.319
High scores: 10 (@pop3blow2), 9 (@Phonetics Girl, @DinahLee)
Low scores: 5 (@Serg.), 5.5 (@Trinu 3.0)
fatyoshi's score: 7
Leaderboard trajectory:
5 voters - #42
10 voters - #41 (+1)
Final placement - #50 (-9)
Our next track saw a bit of a drop in the last set of voters after having done a bit better for most of the run up to the rate. Still, it was never enough to be anything other than the bottom ranking track for its respective album era throughout the voting period. Farewell to Jobless Monday which is also the first of the Bury Me at Makeout Creek tracks to go.
Jobless Monday is an interesting one for me. It isn't a favorite (as seen by my score) but I've come to see it as an essential part of the album it comes from, even if it's probably my least favorite of the tracks. Bury Me at Makeout Creek is an album of thunderous highs and lows emotionally but Jobless Monday is the one that really captures the center that can linger between said extremes. If say, Drunk Walk Home is a cathartic come down from a night out whereas I Don't Smoke is a severe low point, Jobless Monday serves the lethargic day to day moments that come between. I personally find it all really affecting and am a bit sad that I don't like the song more ddddd.
In terms of the music and composition this is pretty par for the course with the rest of Bury Me at Makeout Creek. It's one of the more subdued tracks even if there's still a level of fuzziness to it. Chaotic moments are pretty much left to the piano key smashing at the very end (before transitioning into Drunk Walk Home) with the rest of the track serving the previously mentioned lethargy. In a way this feels like a drained counterpart to My Body's Made of Crushed Little Stars.
This is one of the two tracks from Bury Me that never saw live performances and there's no commentary (seems fitting with the leaderboard placement/general reception, perhaps) so I don't have anything to get into with supplemental material. Bury Me at Makeout Creek is only 30 minutes long so stream it once, stream it twice today!
I'll be back to eliminate the second part of our tie, tomorrow. See you then xx
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Time to eliminate our second half of the tie.
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#50 (Tie) - Bag of Bones
7.319
High scores: 10 (@Trinu 3.0), 9 (@Phonetics Girl, @Remorque)
Low scores: 4.5 (@LE0Night), 5 (insolentire, @finito)
fatyoshi's score: 8
Leaderboard trajectory:
5 voters - #53
10 voters - #52 (+1)
Final placement - #50 (+2)
Lush didn't get too long of a break it seems. Now we say goodbye to the seventh album track (and her first completed song in general) Bag of Bones. Starting out at #53 this saw a bit of a step up as voters came in until it finished at #50. Not a big jump but at least the floor didn't drop out from underneath it like some of these other ones, I guess?
Featuring a dissonant melodica (or maybe an accordion? I'm musically inept, apologies xx) introduction and later line, the track otherwise gives way to more ethereal piano. I don't think the song gets into some of the creepy, if not flat out scary atmosphere or imagery that Door gives me but there's definitely something of an off-kilter undercurrent lingering. It really just creeps up on you unexpectedly.
This is another track I probably would've rated a bit higher if I was doing my scores now. At a glance there isn't much to make this stand out as Lush is filled with piano ballads but if you sit with it a bit it starts to unravel itself. Bag of Bones finds itself in a bit of a unique spot as it is one of the few blatant examples of more confessional songwriting. Written during an aimless period after she graduated high school a semester early, this can be traced as the earliest track in her work at large. Speaking with Jillian Mapes of Pitchfork about her adolescence Mitski had the following to say:
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#50 (Tie) - Bag of Bones
7.319
High scores: 10 (@Trinu 3.0), 9 (@Phonetics Girl, @Remorque)
Low scores: 4.5 (@LE0Night), 5 (insolentire, @finito)
fatyoshi's score: 8
Leaderboard trajectory:
5 voters - #53
10 voters - #52 (+1)
Final placement - #50 (+2)
Lush didn't get too long of a break it seems. Now we say goodbye to the seventh album track (and her first completed song in general) Bag of Bones. Starting out at #53 this saw a bit of a step up as voters came in until it finished at #50. Not a big jump but at least the floor didn't drop out from underneath it like some of these other ones, I guess?
Featuring a dissonant melodica (or maybe an accordion? I'm musically inept, apologies xx) introduction and later line, the track otherwise gives way to more ethereal piano. I don't think the song gets into some of the creepy, if not flat out scary atmosphere or imagery that Door gives me but there's definitely something of an off-kilter undercurrent lingering. It really just creeps up on you unexpectedly.
This is another track I probably would've rated a bit higher if I was doing my scores now. At a glance there isn't much to make this stand out as Lush is filled with piano ballads but if you sit with it a bit it starts to unravel itself. Bag of Bones finds itself in a bit of a unique spot as it is one of the few blatant examples of more confessional songwriting. Written during an aimless period after she graduated high school a semester early, this can be traced as the earliest track in her work at large. Speaking with Jillian Mapes of Pitchfork about her adolescence Mitski had the following to say:
This statement really captures the essence of both the track and a lot of Lush in general for me. So much of the album can be seen as getting into viewing beauty or how you're perceived as a source of value even when you know it's wrong. It can all be a bit of a "I see myself and I don't like it" feeling at times with it hitting so close to home dddddd. That's the nature of music and most art though. I wouldn't change a thing.
Once again, I don't have any live performances to share but there's one piece of commentary. I'll leave us with that for now.
@Remorque who gave Bag of Bones a 9 said "This song is true evidence of just how much she can put a spark into even in the sparcest of productions. She has a way of putting a spin on lyrics and constructing melodies that make the most harrowing situations sound like a tale."
That's it for ties in the rate results. I'll see y'all tomorrow for #49.