{"id":1074,"date":"2021-02-28T18:09:57","date_gmt":"2021-02-28T18:09:57","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2021-2-28-hayley-williams-no-more-music-for-the-masses\/"},"modified":"2021-02-28T18:09:57","modified_gmt":"2021-02-28T18:09:57","slug":"2021-2-28-hayley-williams-no-more-music-for-the-masses","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2021-2-28-hayley-williams-no-more-music-for-the-masses\/","title":{"rendered":"Hayley Williams: No More Music for the Masses"},"content":{"rendered":"<div class=\"\n          image-block-outer-wrapper\n          layout-caption-below\n          design-layout-inline\n          combination-animation-none\n          individual-animation-none\n          individual-text-animation-none\n        \" data-test=\"image-block-inline-outer-wrapper\"><\/p>\n<figure class=\"\n              sqs-block-image-figure\n              intrinsic\n            \" style=\"max-width:2100px\"><\/p>\n<div class=\"image-block-wrapper\" data-animation-role=\"image\">\n<div class=\"sqs-image-shape-container-element\n              \n          \n        \n              has-aspect-ratio\n            \" style=\"position: relative;padding-bottom:52.38095474243164%;overflow: hidden\"><\/p>\n<p>                <img decoding=\"async\" data-stretch=\"false\" src=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/06\/Untitleddesign-2.jpg\" data-image=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/06\/Untitleddesign-2.jpg\" data-image-dimensions=\"2100x1100\" data-image-focal-point=\"0.5,0.5\" alt=\"Untitled design-2.jpg\" data-load=\"false\" width=\"2100\" height=\"1100\" style=\"object-fit: cover;width: 100%;height: 100%;object-position: 50% 50%\" loading=\"lazy\" data-loader=\"sqs\"><\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n<div class=\"sqs-html-content\">\n<p class=\"\" style=\"white-space:pre-wrap\"><strong>By Sarah Fournell<\/strong><\/p>\n<p class=\"\" style=\"white-space:pre-wrap\"><em>Flowers for Vases\/descansos<\/em>, released February 5th, reads as Hayley William\u2019s personal diary, a collection of memories and mourning. It\u2019s a raw, personal coming to terms with her reality. She moves away from the pop-punk-turned-synth-funk vibe of&nbsp; her debut solo album, <em>Petals for Armor<\/em>, towards a modest and intimate singer-songwriter style. Whereas <em>Petals for Armor <\/em>was in part written and performed by her Paramore band members and collaborators, <em>Flowers for Vases\/descansos <\/em>was her first time recording fully alone. Her sophomore album feels more intimate this way, just Williams and her music.&nbsp;<\/p>\n<p class=\"\" style=\"white-space:pre-wrap\">The album is aptly named <em>Flowers for Vases\/descansos <\/em>as an in memoriam to the person Williams used to be. The songs stand still, transfixed in time like flowers left at a gravesite, in remembrance of a love lost. The second name \u201c<em>descansos\u201d <\/em>is the Spanish name for memorial crosses placed at death sites. The album serves as a tribute to the grief that ensued after a divorce from her partner, Chad Gilbert of New Found Glory, as well as the growing feelings of isolation during the pandemic. She builds homes for her grief to live in while growing as a solo lyricist. The somber tones that embody the tracks help tie in the themes of loss and struggle. The subtle, acoustic nature of the album makes it feel deeply personal; the music is just Williams, her guitar, and her emotions.&nbsp;<\/p>\n<p class=\"\" style=\"white-space:pre-wrap\">Opening with \u201cFirst Thing to Go,\u201d she sings about hindsight and the self-manipulation of memory. It serves as a bittersweet ode to nostalgia, asking \u201cwhy do memories glow\/ the way that real moments don\u2019t?\u201d She interweaves her voice with the solo strumming of an acoustic guitar, like gentle timid brushstrokes starting off the beginning of a mural. She moves from this soft lament to an upbeat track, \u201cMy Limb,\u201d although still heavy hitting and somber. It is one of the few tracks on the album to feature more electronic sounding beats.<\/p>\n<p class=\"\" style=\"white-space:pre-wrap\">Throughout the album she refers to how isolation left her bereft and how difficult it is to keep moving forward. \u201cAsystole\u201d refers to the sound of a flatline, as Williams sings about not being able to let go, begging her lost love to \u201crevive your love in me\u201d.\u201cTrigger\u201d is about her past and the toxic relationships she had little control in. She reflects on the tribulations and red flags, singing that \u201cthe pain had a purpose.\u201d&nbsp;<\/p>\n<p class=\"\" style=\"white-space:pre-wrap\">\u201cOver Those Hills\u201d starts off simple, with a muted practice of the riff, reminding us that she performed this from home. It\u2019s one of the more lively tracks on the album, in which she wonders how her partner is doing. Although she channels her feelings about the negative relationship throughout the album, there\u2019s an overwhelming need to know how her former partner is doing. She revisits this idea again in \u201cHYD,\u201d asking \u201cI wonder how&#8230; how you\u2019re doing now?\u201d She uses her voice as a vessel for her sadness, like a soft weep in conjunction with the sad strumming and lonely piano.&nbsp;<\/p>\n<p class=\"\" style=\"white-space:pre-wrap\">In a quiet testimony to mourning and its physical effects, \u201cGood Grief\u201d speaks to the fact there is \u201cno such thing as good grief.\u201d Williams captures the consumption of loss, describing how it left her as just \u201cjust skeleton and melody,\u201d which is how the album comes across visually.&nbsp; The songs seem to fit into each other like vertebrates in the spine of a revenant but trembling mourner. Each track fills up the empty rib cage of a grief-sunken chest.&nbsp;<\/p>\n<p class=\"\" style=\"white-space:pre-wrap\">The closing track on the album, \u201cJust a Lover\u201d telescopes the essence of the album as a whole. \u201cNo more music for the masses,\u201d she sings; With this line, her intentions with this album are made clear. She is turning away from the idea of profit and success and producing music for the sake of feeling, of release. The song starts off quietly then builds into a crescendo of emotions. She breaks out of the quiet lamentations of a heartbroken lover and back into \u201cone last chorus\u201d where she flashes her original pop-punk sound.&nbsp;<\/p>\n<p class=\"\" style=\"white-space:pre-wrap\">Williams\u2019 sophomore album is a lyrically poignant collection of effortlessly realized emotions. She perfectly encapsulates the ubiquitous feeling of loneliness produced by isolation and hands it to us like a fistful of wilted flowers to fill our empty vases. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p class=\"\"><em>Flowers for Vases\/descansos<\/em>, released February 5th, reads as Hayley William\u2019s personal diary, a collection of memories and mourning.<\/p>\n","protected":false},"author":1,"featured_media":1075,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[21],"class_list":["post-1074","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-album-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Hayley Williams: No More Music for the Masses - wecb<\/title>\n<meta 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