Rina Sawayama brings inner-child work to the masses on 'Hold the Girl.' Read anticlimaxwell's review:
. Big-time mainstream pop co-producers and co-writers such as Paul Epworth and Stuart Price boast album credits alongside her longtime co-producers and co-writers Clarence Clarity and Lauren Aquilina, resulting in newly grander music dutifully engineered to reach the masses with her message that “
.” In centering her journey toward healing, she gives her fans space to process their own traumas and unravel toxic narratives.’s best tracks lean into glitchy electronics, with humongous gyrating synths and percussive patterns. “Your Age” builds toward digital blasting that sounds arena-ready and like a long-dormant volcano exploding, and Sawayama’s studio-manipulated, low-pitched snarling evokes dissociative rage.
Sawayama’s voice carries the more traditional pop tracks across the finish line. Atop “Catch Me in the Air,” she reaches into her highest register, adding tenderness not always present in guitar-and-piano-driven festival ballads. The title track launches into a skittering, Burial-esque drum machine beat that cedes to booming drums and a key change, the bread and butter of smarmy pop classics.
Sawayama’s pop ambitions minimize some of her debut’s most endearing traits. Gone are the metal guitars she fit into pop forms with astonishing precision;’s often tongue-in-cheek lyricism. “This Hell,” the queer alt-pop song of the summer, is the exception and perhaps the album’s zenith. It’s a pop anthem that winkingly calls for queer unity in the face of endless new anti-LGBTQ+ movements; the guitar line, though country-indebted, is produced with the same fire as’s slashers.
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