I’ve always been aware of Willow Smith, mostly as the daughter of Will Smith, but I hadn’t explored her music until Empathogen crossed my path. From the first listen, this album grabbed my attention and hasn’t let go. Released on May 3, 2024, I was fortunate to discover it in August, giving me several months to soak it in before the year ended. After at least 50 or 60 listens, I can confidently say this is my favorite album of 2024, and I’ve studied it to the nth degree. Let’s dive into why it’s such a masterpiece.
My Musical Lens
To give you some context for my review, I’ve been immersed in music theory and composition since I was four years old. This lifelong dedication has always been both a blessing and a curse. While my deep understanding of music has allowed me to appreciate complexity and innovation, it’s also left me bored with the norms. Even as a child, I found myself searching for music that broke boundaries and surprised me. Composers like Ravel, Bartók, and especially Chopin became my go-to inspirations for their ability to balance emotional depth with masterful technique, combining beauty and brilliance in ways that captivated me.
When jazz entered my life in college, artists like Charles Mingus and Ornette Coleman expanded my musical boundaries with their fearless explorations. And threading through all of this were staples like The Beatles, Beck, and Radiohead, not just for their music but for their groundbreaking production. Nigel Godrich and George Martin have always been two of my heroes when it comes to production.
Every once in a while, an album comes along that seems to tick all my boxes: musically, emotionally, and creatively. Albums like How to Be a Human Being by Glass Animals or Tomorrow’s Modern Boxes by Thom Yorke have done this for me in the past. But it’s rare to find a full album that checks every box. Empathogen is one of those rare finds.
How I Will Approach This Review
I will break down this review into three categories: Beauty, Composition, and Production. Although these elements are often interconnected, (for instance, beauty often stems from the composition) I will do my best to separate them. After that, I’ll dive into my favorite tracks and why they stand out.
The Barrier Tracks
Before getting into the review, I want to address the album’s opening. For new listeners, I’ve told at least 100 people to skip the first two tracks on their first listen. I know this might go against Willow’s intent (sorry, Willow), but I’ve found that Home and Ancient Girl can act as barriers.
Home has been described as “too jazzy” or “too clean” by some listeners, while Ancient Girl is polarizing even after multiple listens. Personally, I’ve grown to love Ancient Girl, but I can understand why it might feel off-putting at first. Once you’ve explored the rest of the album, I encourage you to circle back to these tracks with fresh ears. Once you’re more acquainted with the album’s style and nuances, these two songs will make far more sense and might even become favorites. They deserve a fair shot.
Beauty
This album shines with the talents of every performer on it, but Willow herself is, of course, at the forefront. She has mentioned that between her last album and this one, she trained intensely on her vocals, and it absolutely shows. Her range, not just in pitch, but in the diversity of styles, is truly the benchmark of this album's greatness. From soulful R&B to renaissance-like, Gregorian chant-inspired singing, she absolutely kills it. The stacked harmonies throughout the album are impeccable, fresh, and executed with a professional approach that stands out in every track.
But then, the lyrics! It’s rare to hear lyrics that so seamlessly dive into themes of self-discovery, emotional complexity, and personal growth, offering a profound and introspective experience. They make you reflect, challenge your thoughts, and look inward, which is truly refreshing in today’s music landscape.
It would be a mistake not to mention the contributions of St. Vincent and Jon Batiste, who both add to the beauty of this record. The harmonies between St. Vincent and Willow on Pain for Fun are almost too good for their own good, borderline magical. And Jon Batiste’s piano work on Home is absolutely gorgeous, a true highlight of the track.
All that said, there’s no doubt this album scores an A+ in beauty. Every element shines, from the performances to the execution, making it an unforgettable experience.
Composition
This is another aspect where this album truly shines. From one song to the next, while the production keeps things cohesive (more on that later), every song brings its own unique identity. Pretty much every track stands on its own as an exploratory piece. Just like the range of vocal styles, the song styles span a wide spectrum.
What separates this album from so many others, especially in the pop genre, which it definitely dips its toes into, is its use of atypical chords, unconventional progressions, and asymmetrical time signatures. A couple of songs are predominantly in 7/8, which isn’t the craziest time signature ever, but it’s the tasteful way it’s used that makes it special. Take Symptom of Life, for example. The verses are in 7/8, transitioning into a chorus in 4/4. Bands often feel the need to showcase that they’re using off-timings, but in Symptom of Life, it wasn’t until my second or third listen that I even realized the verses were in 7/8. That’s part of what makes the switch to 4/4 in the chorus feel so satisfying.
On top of that, every song has its own hooks: those signature moments where the feel changes, the beat shifts, or the melody locks into something unforgettable. These songs were clearly composed, written, and crafted with care. It’s this level of thoughtfulness and intentionality, in both the music and lyrics, that makes the composition of this album an easy A+.
Production
I couldn’t wait to talk about this part. Production is the frosting on a cake. And yes, a cake is still a cake without frosting, or even with messy frosting, but it’s just not as good. (For those who don’t like frosting, I get it, I typically don’t either, but you get the analogy.) This album’s production is so buttery smooth that it’s undeniably a triumph.
The album features an incredible production team, including Jon Batiste, who produced the opening track Home and contributed piano and drums. Eddie Benjamin handled production on tracks like No Words 1 & 2, Down, and I Know That Face, while Chris Greatti produced standouts like Symptom of Life, The Fear Is Not Real, and Pain for Fun. Willow herself also contributed to the production, further highlighting her versatility as an artist.
The levels, the positioning, and the effects on every sound feel meticulously and intentionally placed. This album is articulate and clean.... so clean that some people have said it’s “too clean.” I get where they’re coming from, but for me, it’s a masterclass in detail and precision. Obviously, Production = A+. If you’re looking for a beautifully crafted piece of art, put on some headphones and let Empathogen take over.
Where to Start
While I’ve touched on this earlier, it bears repeating: start with track 3. Once you’re familiar with the album’s style, go back and give the first two tracks a fair listen. Both Home and Ancient Girl are polarizing.
Home is my least favorite track. Its performance and mix are top-notch, but I agree with others who’ve said it’s almost too clean, bordering on sterile. That said, it’s still a great song, even if it’s not my personal standout. Ancient Girl, on the other hand, is something entirely different. It’s beautifully ugly. Not ugly in the literal sense, but you’ll know what I mean when you hear it. Willow’s voice is strikingly unique on this track, and personally, I’ve probably listened to it more than any other on the album.
These first two songs can feel like gatekeepers, which might cause some listeners to miss the brilliance that follows. But once you’ve explored the rest of the album, I encourage you to circle back to these tracks. With a better understanding of the album’s style and nuances, they’ll likely make a lot more sense, and might even become favorites.
Favorite Tracks
Although every track on the album offers something remarkable, a few stand out as my personal favorites. The Chris Greatti-produced songs, Symptom of Life, The Fear Is Not Real, and Pain for Fun, are absolutely top-notch. Each of these tracks showcases everything I love about this album: the brilliant composition, the stunning performances, and the impeccable production.
The crown jewel for me, though, is Pain for Fun, featuring St. Vincent. This song has everything I want to hear: the composition, the performance, the words, the harmonies, and the production are all perfectly beautiful. It’s the kind of track you find yourself coming back to over and over.
And then there’s Ancient Girl, produced and fully performed by Willow herself. Bold, unique, and unforgettable, it’s a song that perfectly encapsulates her artistic vision. It might not grab everyone at first, but once it does, it doesn’t let go.
A Final Note
If you haven’t yet, or if you’ve only passively listened to this album, I highly encourage you to put on some headphones and fully immerse yourself in Empathogen.
If you feel like this album might not be “your style,” I’d also recommend reading my article, Why Do We Love the Music We Love?, which explores the idea of stepping outside your musical comfort zone. You might be surprised by the beauty you’ve been missing.
Willow’s Empathogen is more than an album; it’s a work of art. I hope you enjoy it as much as I have. Spotify Link
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