![]() The penultimate track, “Demarest,” leaves the biggest impression. On “Bloodline II,” she tries to understand her parents’ decision to move (“Been tired your whole life/It’s what drove you out west”) before admitting her fear of turning out like them. In “Good For,” she writes about a friend’s betrayal and the kind of “bad kid” who “fail upwards on the backs of good ones.” The most invigorating moments are the most ambitious, when Park’s attempts at self-reflection spiral into anxiety. Park’s lyrics mostly focus on small interactions and idle thoughts, the kind of introspection born of abject loneliness. That attention to detail makes up for the occasional weaknesses in Park’s endearingly light vocals: When she can’t belt the way a slow-burner like “Out” requires, a last-second whirlwind of feedback picks up the slack. ![]() Even the more mundane passages of “Wyoming” include panned percussion and shiny synths, creeping into the mix as if mirroring Park’s anxiety. ![]() Even though no two people were in the same room while recording, Park and Caine manage to capture the energy of a live band in explosive moments like the sudden, distorted climax of “I Can’t Bike.” It’s not just the production: On “Wyoming,” a routine indie backbeat gradually slows down for a dreamy chorus. The production on The Parts I Dread, from Park and Boston musician Gavin Caine, benefits from the lengthy writing and meticulous recording process: This album sounds as polished as anything from higher-profile contemporaries Soccer Mommy or Snail Mail. ![]()
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