The wait is finally over for Benee’s hotly awaited sophomore album Ur an Angel I’m Just Particles. Over five years on from her bombastic rise to fame with the viral hit ‘Supalonely’, this album shows an artist broadening her horizons with more experimental sounds and open, real storytelling. Hitting play will take you deep into the sweetest, and strangest, of dreams.
As the glittering album artwork illustrates, this is a collection about alienation. Touched by a mysterious silver hand that makes her sparkle, too, Ur an Angel I’m Just Particles gets vulnerable and honest about Benee’s search to belong, and the dangerous habits she can fall into because they make her feel special. It’s an earnest topic relatable to the masses, but rarely acknowledged by musicians in such a genuine way.
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If Ur an Angel I’m Just Particles is about the struggle to find belonging, toxic relationships are a prominent theme in how they offer brief moments of escape from loneliness. From the opening moments of ‘Demons’, dangerous love interests are toying with her mind. “With him it’s only sunshine”, Benee sings. But underneath this warm veneer, there is a darkness she can’t help but chase after, to feel like she belongs. Delicate pianos and sweet guitar grooves let Benee’s light vocal trickle like honey across the track. Similarly, the speed of love is “contagious” on ‘Vegas’, a song which utilises a skittering drum loop to follow a fun, earnest narrative about escapism and quick satisfaction.
Whilst these early numbers dwell on Benee’s fantasy moments, reality hits hard on ‘Sad Boiii’ and ‘Prey4U’. Both songs flip the switch and see her realize it’s time to focus on herself over the heavenly figures in her life that take so much of her attention. Her conversational alt-pop style feels like listening to a friend venting. Both songs emphasise slick basslines that support her melodies bouncing all over the track, making it impossible not to bop your head along. Smart modern sound effects like buzzing phones and sarcastic baby cries add constant bursts of interest.
Turning the lens onto her own struggles, Benee gets real about improving herself with tunes like ‘Doomsday’, ‘Off The Rails’ and ‘Chainmail’. These songs address the themes of mental health and existentialism that have simmered throughout much of her catalogue. They’ll be favourites for lovers of tracks like ‘Bagels’ and ‘Doesn’t Matter’. The easy, simple choruses opt for layered vocals and clear lyrics, admitting “I am complicated, not easy when I’m frustrated”, but concluding it’s okay to be emotional if it means staying true to herself.
‘Underwater’ is a cornerstone of the album, exploring how self-isolation can feel better than facing problems head on. The racing production chops and changes Benee’s words, creating a mystical effect that makes each line pack more of a punch. “When I’m in the pool / And when I’m at the beach / It feels so effortless”, Benee sings brightly, but beneath it all, there’s a profound sadness to the fact she only feels safe in this lonely and cool environment. The sticky sweet chorus features a melody so irresistible, it’ll stick with you even deep under the sea.
Another clear standout is the glossy single ‘Cinnamon’, which tackles the intensity of Benee’s recent move to Los Angeles. After growing up in Auckland, the shift to a new life of the bigger city hustle and bustle makes for a real contrast. It’s explored through summery guitar loops and a busy rhythm that stretches like elastic.
This interestingly parallels ‘Animal’, where Benee grapples with the rush of “micro-celebrity”. It’s a hard rock-infused number that tackles cultural issues from the perspective of someone who’s hyped up by those around her, but ultimately feels as small as any other earthly creature, in the grand scheme of the world. Images of the LA fires contrast against the mundanities of daily life, over glitchy vocal chops and gritty drums. Whilst it’s uniquely portrayed through the lens of fame, teasingly reminding us “You can’t stay mad at me” when she’s beloved by so many, this type of existential dread is still something we’re all exposed to on the daily, no matter our level of success or recognition. The ripping guitars and distorted vocals offer a moment of catharsis through the chaos, and hint at an edgier sound for her future work.
Indeed, the album’s latter half becomes noticeably more experimental, constantly transforming and pushing forward sonically. Fans will surely connect with the trendy bedroom pop direction of ‘Princess’, which veers into hyperpop territory with its thick vocal processing and quirky, complex drums. Sharp listeners will catch surprise guest PinkPantheress providing uncredited additional vocals. They blend beautifully into this genre and make the song’s hyperfeminine feel truly pop.
Given the album’s overall upbeat style, the finale makes for a heart-aching juxtaposition. ‘Heaven’ is a slow, sparkling closer that’s extremely sad and introspective, dedicated to the loss of a loved one. For every step forward Benee takes towards radical self acceptance, there’s another step back to dwell in the pain of the past. It’s a reset back to the logic of the album’s title — the people around Benee seem larger than life to her, and she is constantly battling to live up to being an angel like them.
In its tight thirty minute run time, Ur an Angel I’m Just Particles packs in a true emotional rollercoaster, and a personal case study of Benee’s life experiences and psyche. Tackling heavy subjects like loss, toxic relationships and personal identity, it’s extraordinarily relatable and perfects the ethereal sound that is so distinctive to Benee as an artist. In fact, she might insist she’s “Just particles”, but such a compelling record makes it hard to see Benee as anything but an angel after all.
